Dating 1970s ludwig drums
Many memorable things in this third essential album, starting off directly with Friedrich Nietzsche, where the combination of sequences and percussion (played by Harald GROSSKOPF, member of ASHRA that time around) is tumultuous, continuing with the short Georg Trakl, where the repeated rhythm solely crowns the moment, then with Friedmann Bach and Heinrich von Kleist, dark-ambient pieces.
Ludwig II von Bayern combines an elaborate ambient-symphonic start with a 10-minute long soft and "langsam" endless repetitive, variation-less vibrato (challenging as a listen, as it's perhaps just a tough moment to survive, or much more, such as a musical moment in which you have to look inside simplicity and stagnation and break their teasing spell).
Schulze's involvement in CODE III's sole album is a bit bigger, that brave experimental record having a bit of "electronic pattern" easily creditable to him.
In 1975, Schulze's biography reminds us that he produced two albums of FAR EAST FAMILY BAND, a group which included KITARO, a much more simplistic and "aroma-therapeutic" future electronic soloist.
There's already a noticeable conceptual affectio for Wagner, a thing that's under no circumstances incidental.
The impulse towards Nietzsche will arise soon enough too.
Many could imagine how the move from playing guitars, drums and bass towards using synthesizers and the pure electronic mechanics happened, so we shan't meditate at all over how Schulze created his universe of instruments and techniques (from the first synthesizer to the great Moog, up in 1974 or 1975), we can more likely cover the music itself.
A first phase, composed of two albums that don't sound at all like initiating works but, on the contrary, unimaginably hard and minute, keep Schulze in the space-kraut-acid zone, much alike Tangerine Dream having quit their "underground expressionism" and bringing forth immediately cosmic, abyssal, electro-psychedelic and tensioned music.
The boys bought equipment that was very similar to that used by Pink Floyd, a super-band for which the three had, apparently, a special affectio.
He also releases the soundtrack for an erotic film called Body Love, a score that's not to be missed, especially for its sequence-loaded epic P. 1977 is again a year of reference, thanks to the second album of, most likely, the top three: Mirage, an album that's belissimo, and in which the synthesizing, sequential and ambient-marked electronic touches unbelievable expressions.
After a non-vertebrate Velvet Voyage, aerial and yet sunken in an encumbered ambiance, Crystal Lake is of great interest, with a polyphonic sequence that brings more alike percussion - bells and xylophones - and leaves you breathless.
Schulze stays under contract with the Ohr label, releasing in 1972 Irrlicht, a drone album, tough and impersonal, experimental and processed at the same time.
Bomb number 2 is dropped one year later - and we're talking about Cyborg - a monumental double-album, in which the same rough drone language has, this time, a more mechanical, robotic, metallic, somewhat lifeless, still intense and severely hallucinating sense.