Klaus Schulze Das Wagner Desaster (Resissue) Please go to the Store to buy this item.

With a total playing time of over two and a half hours this album does appear to be one of truly Wagnerian proportions…….or is it??? In actual fact this live set was to be released as a single disc, but the general consensus of opinion weighed heavily in favour of a two disc release due to some remarkably good aspects to be found in both of the different mixes made from Klaus's live material, (tracks 1 and 2 on each disc being the same live material mixed completely differently). Some say that the differences in the mixes are only subtle, l disagree with that totally having a very firm favourite combination of mixes. Are they radically different??? No, but significantly, yes. So to take in the big concept here you don't have to book a day off work to sit and listen to the whole thing end to end in one go after all.

Recorded live in both Paris and Rome back in 1994, (with the exception of the bonus track, recorded in Spain 1991) the album has a studio feel about it given the quality of the recordings presented here. A profusion of samples assist greatly in the creation of a rather surreal neo-classical/operatic atmosphere within the pieces which incidentally fly by at an alarming rate for a bunch of tracks which have a duration little short of half an hour each. There's never a stuck in a rut, dull moment during the entire set as Schulze tickles the ivories throughout this freewheeling Wagnerian episode. Peculiar to this release is the use of the different mix downs of the live tracks. We are presented with both 'wild' and 'soft' mixes' from the show material, (Klaus being responsible for the 'soft' mixes which take to prominence on the second disc). The 'wild' mixes done by Andre Zenou, not a name you'll know from the musical world, but maybe from the automotive one…….Klaus explains all in the sleevenotes.

The CD is presented in a gatefolded card slipcase together with the now ubiquitous accompanying 16 page booklet containing a write up by Klaus to explain the overall reasoning behind the live shows and the recordings themselves. The set opens with 'Wagner(wild mix)' which runs for about twenty eight and a half minutes, time which just gallops by as this musical escapade sweeps by in a breathtaking show of daring do from Klaus armed to the teeth with a whole bunch of killer samples. A soundbed of ever changing synth layers cascade though a relatively simple multitimbral sequence of both percussion and synthesiser voicings. Opening up in a very bombastic, dramatic style as one might have expected from the great composer himself, 'Wagner' is peppered with operatic samples covering the whole vocal range which spin a thread into the mix with varying degrees of success as they are transposed ridiculously and pitch bent out of all reality. Plucked strings arrive to keep the tempo, but it's a false start with the main sequence still some way off. Things mellow down nicely with a soft horn and oboe taking the lead as huge synthetic strings create a serene environment for you to relax into for six minutes or so. Steadily the sense of urgency builds within the music to the point at which a tick tock arpeggiation can pick up on the rhythmic duties required; the sound of Cello and flute stuttering an improvisation overhead.

We're already into the latter half of the track and the musical panorama is broken down somewhat to allow for clearer more complex sequencer interplay. The sound of flute returns, Klaus carefully soloing, playing in a tight range of keys best suited to the instrument. The drums pick up a gear in the closing six minutes and with all to play for the sound of a screeching hybrid electric lead guitar is heard wailing a rather shrill path to the end of the track. 'Nietzsche'(Wild mix)' is marginally longer than the first track starting as it does with a beautifully symphonic largo punctuated by, and dare l say alittle spoilt by those operatic vocal blasts and hits. Nothing truly settles before the main sequence reveals itself suddenly at the six and a half minute mark. Again it's a simple arpeggiation with slightly more pace and percussion than was to be found in 'Wagner'. The sound of flute and trumpet carry out their duties as solo voices, the odd operatic sample still putting in an appearance every now and then, only this time well suited to the music sitting nicely in the mix. The piece moves on little for the next ten minutes and only then it is the stepping up of the percussive elements which really alters proceedings. The steady sound of synth and sampled choirs move to one side as a higher register sequencer section fly's into action. Staccato strings replacing the lead voice for just a short time, the rhythmic elements of the music having to hold everything together as the soloing gets ever more frenetic. 'Nietzsche' actually sounding rather heavily truncated with a fast fade, everything still in full flight and yet suddenly it's over!!! 'Entremdung(Wild mix, encore Paris)' is a ten minute musical reverie which kicks off with the sound of jazz organ leading a ballistic euro trance type rhythm of drums and pumping sequencer. A sudden and complete break into the sound of a staccato string ensemble is quite a surprise prior to the crazed rhythm returning a minute or two later. Various solos ensue as the sampled effects just get more and more outlandish through to the close of the piece. At just under twelve minutes, 'Versohnung(Soft mix, encore Rome)' ends the first disc and respectfully is the first of the Schulze mixes on the album. This is a very easy to get along with piece of flute led music with a strong synthetic bass undercurrent which follows on from the opening section that came across sounding completely cinematic like the 'Nietzsche' introduction. The sound of a virtual analogue solo signals that the end is nigh as Klaus winds up the track in one those superbly off the wall eccentric synth moments.

Onto disc number two and we are confronted by 'Liebe(Soft mix)' at just under twenty eight minutes, which is basically the Schulze mix of the disc one track 'Wagner'. The difference can be heard instantly, with a slightly shorter introduction section, those operatic samples sitting higher in the mix. Much of the percussion and sequencing made to sound thinner and tighter so that they gel better with the huge string pads than the sampled elements of the track, (as was the case with the disc one version). When the rhythmic arpeggiations arrive Schulze makes their addition not so obvious, but allows the multi tap delay on the sequencing stand out making for that Berlin school sound in an instant. The opera samples seem more sedate now during the main sequencer section, the solo's themselves being much stronger elements within the music when used, (given that much of the improvisation has been removed). Gone is the screeching lead and some of the flute solos from late on in the track, more percussion sounds filling the void,(that were mixed out on 'Wagner'). 'Hass(Soft mix)' is the Schulze mix of 'Nietzsche'. The operatic blasts still managing to ruin a superb opening six minutes for me. The strings this time seeming higher in the mix as the main section starts. Gone are the flute and trumpet solo's the sampled vocal sounds taking precedence. The track working well enough with most if not all of the big improvisations mixed out by Schulze who can't have been too happy with them for whatever reason. The bonus track is 'Encore Sevilla',(19.17) from Spain 91'. After some audience interaction from Klaus to remind us that this really is live the piece commences. The quality of the recording isn't as good as the rest of the album but with sweeping synth pads sounding like prime time classic Schulze who cares. All goes well initially with this steadily building electronic Bolero, gradually the piece develops and its true the Spanish guitar inclusion does give the track that Spanish feel. Like a horse kicking at a gate the music is in a hurry to get going, but the track is soured by the addition of samples which repeatedly shriek and feign sex which grow from being initially mildly humorous into something gratingly annoying. Flamenco guitar and thumping percussion play up to a fever pitch as the piece winds on really getting into gear in the last eight minutes. It all begins to sound like music for music's sake as the track reaches it's conclusion without any resolve coming to a sudden halt laced with dubious samples all the way. Not the best track in the world by a long shot, worthy of inclusion??? The juries still out on that one.