DREAMS

Dreams starts as uninspired as any other mid 80's Schulze album. But when we get to the title track, magic happens. Out of the unimaginative dross that preceded it, comes this gorgeous track propelling us back right into the magic universe of 'X'. The track sounds very much as if it could have come from that album, no sequencing, just a myriad of synths waving a vast texture like only Shulze can conjure up. One of his best tracks ever.

Also the Klaustrophony track starts off nicely but it breaks out of it's enchantment by the time the drum machine kicks in. I never understood why Schulze (nor Tangerine Dream) realized they completely failed at programming drum machines. They should have abandoned doing it after a few unfruitful tries. Their rhythms are tepid, lame and cheesy and bring down all tracks they feature in. Well, except for Dreams then, even the rhythm is wonderful here.

The participation to superb and definitely huge albums from Klaus is quite brilliant and unprecedented as far as I am concerned. For the novice fan who would be willing to enter his mighty work, it is of course wise to recommend his fabulous, and wonderful albums of the seventies (up to "Mirage").

Prior to this one, the eighties were a consistent and globally good effort, but no more. I wouldn't say that this "Dreams" are overwhelming me with great passion. The man has used me to so much better music, so much better soundscapes with extreme and passionate compositions. Still, the title track is awesome: cold, perfect, full of harmony and tact. THE highlight from this album.

While Klaus always brought only excellent pieces of music during his earlier work it is a fact that times have had quite a change on his music (but he was not the only one, right?). To listen to such a weak song as "Flexible" is quite disrespectful as far as a fan can be concerned.

I can't be thrilled with these "Dreams" to be honest. Even the epic "Klaustrophonie" is just shy of his mighty and earlier works. The magic has been erased and another glory of his music has been brought. Not for the best, I'm afraid. The vocal section is just weak and useless. How could such a genius accept these poor contributions?

This album is only a good one. Dear old Klaus has used me to so brilliant and gorgeous albums that I can only be a little disillusioned with this one.

Still, three stars.

By the mid-1980s Klaus Schulze's releases were coming thick and fast - like many other New Age keyboard gurus who were likewise flooding the market. In retrospect, this rapid release of material enabled by electronic recording technologies was probably detrimental to the progressive electronic scene as a whole; because the market was so inundated with material from artists making a large number of releases, other artists had to release a heap of albums themselves in order to prevent their own efforts being completely swamped. How much blame Klaus himself bears for this situation is impossible to ascertain: though his prolific early years certainly set a precedent for it, at least his 1970s releases maintained a generally high standard, but it was clear by Dreams that he couldn't keep up. A more unimaginative collection of New Age electronic cliches you couldn't hope to find.

Since 'Mirage' and again 'Dune' in 1979, KS albums have lost their splendor; I buy them, I listen to them and I have a regret; comes this 'Dreams'! What will this apprentice sorcerer offer us?

1. A Classical Move fast, frank, direct attack; and the slap, a rush of adrenaline with a newer, younger, more alert sound, a bit like Steve Austin 2 Five To Four entered Asian, Japanese, JAPAN style. Metronomic, vibratory, hypnotic, repetitive and captivating, but too predictable and lacking that little something to take us higher; a slight jazzy variation gives freshness before the air resumes its trajectory 3 Dreams... or 'Matrix' before its time... yes I know I have a hell of a memory... in short the unbeatable piece or how in less than 10 minutes you leave in space time, in sleep, in limbo, in Olympus, ah I just saw a demigod pass by just now... angelic choirs, an inevitable rise; halfway through and Ulli's percussion arrives and gives even more weight; 2 minutes more, you are in a trance so you cannot see your watch (bracelet which gave the time and nothing else before the change of millennium) and this is the end, you feel that the sound is fading, you can get your hair back, striking title 4 Flexible listened to later since on LP nada; the time of the CDs arriving which made it possible to add a number of drawer tracks; a piece with a steel or slide guitar or other fast one that stands out but gets to the point 5 Klaustrophony yes the 2nd side is a title, average in fact; metronome, repetitive, monotone, trembling ice strings; a more refined, more direct piece, for the moment we are on the same basis as the previous ones, roughly 10 minutes long; yes a theme and then nada, basta; synthetic choirs, we have just exceeded the 10 minutes mark of side A; well the crescendo is lethargic, in mode you move forward but slowly so as not to disturb the listener, it's monolithic I warned, but the choirs and the drums animate; 15 minutes yes I had time to look at the moon, is it going to light up tonight... and bam a voice like in the future HIPNOSIS and their evil Anna, well there it's Ian who sings.. . often I don't like when there is a voice... strangely the duration to perceive it, the frantic rhythm of the air, the latency, in short I am won over; the 80 will also have changed my perception; 22 mins yes it went by quickly I tell you... the sound increases, last stand before the inevitable end, which I feel is near, which I guess, which surprises me! A good album for those who don't want to embark on 30' tracks.