MIDITERRANEAN PADS

The prior release from Klaus was very good ("En=Trance") and lot of hopes could be thrown into his next studio effort. But, unfortunately this "Mediterranean" affair doesn't hold the same splendid parts.

Few passionate moments, few glorious keyboards layers, few inspired passages. The added synthetic "drums" aren't of any great value as far as I'm concerned. The great man could have invited a "true" drummer to perform (I'm thinking of Mike Shrieve of course, but I'm biased).

The long "Decent Changes" is just an extended and monotonous rendition of the same basic musical structure. Being played over and over for more than half an hour. Can't get thrilled with this for sure! Almost indecent with little changes?

The development of the title track is slightly better but let's considered it as only a good musical piece with no excess. Still, my preferred song from this album which won't be taken into account if I had to make some dramatic desert island choice.

This is a very long album (almost seventy minutes) for little performance. And you might know that I quite like the man (just look at my ratings). Two stars is the way I feel about this "Mediterranean" stuff. Not essential for a ? cent.

The long and closing "Percussion Planante" won't change my judgement.

Miditerranean Pads stems from a Schulze period that I'm not too enthusiastic about. I didn't like this album one bit when I first heard it 15 years ago. Nevertheless, I picked it up from the library again to see if I would find myself being proven wrong again by the ever changing and frivolous nature of my taste.

I have to note a slight change in positive directions towards the opening track. The first 10 minutes of Decent Changes are very interesting, with its weaving of string chords and lush dreamy atmosphere. There is some electronic percussion, but that would have worked better had it been played live. The second section is more rhythmical, very sparse and suggestive and yet it manages to groove just enough. The synths used to accentuate the pulsating rhythm work very well.

The second track is 15 minutes of boring new age sounds. It will probable never charm me at all. The Percussion Planante is slightly better but it is too static. It depends too much on a sterile rhythmic pulse that is dominated by cold plastic midi samples. Besides, this hardly adds anything to what Schulze already experimented with on his early 80's album Trancefer. And to much greater effect back then. The track works towards some sort of crescendo but as it failed to be interesting for the first 20 minutes the effect is minimal.

I must conclude that Schulze's early 90's period isn't his best. But I promise I get back to you with an update by the time I retire. There is always something in this man's music that stays out of reach, something that remains difficult to grasp and explain. Sometimes you get it after a while, sometimes you don't.