101 MILKY WAY

01. INFINITY (part 1,2 & 3) with the dark, mystical, soaring, black start with brackish colored scents, yes dark I confirm; it progresses on airy droplets and a languid base before having a world variation by the oriental vocal; we find hints of Jean-Michel JARRE on the endless rise, a mysterious violin coming to cast even more doubt on the direction of the piece; latency and contemplation are required, the sound at the origin of 2008 is less austere, heavier and more pregnant 02. ALPHA in detached piece continues however on the line of the master by proposing a typical reverberation beginning, a plaintive air more than melancholic, we approach the meditative expiation here; a digression in fact

03. MULTI (part 1,2,3,4 & 5) dives into a sequence of more than half an hour with 5 parts; at the beginning it is different, but it is also a bit the same; we have to wait until the end of the second drawer to glimpse a desire to turn up the sound, the 3rd to realize that we have forgotten time and that the Schulzian sound still has an effect even after his death; yes these pieces are part of a work requested for a film soundtrack, but we know that Klaus is gone, and this sound resonates much more like a memory, a solemn hymn, a temporal hook beyond death, a bit like the famous library of Interstellar', but I digress; these multi-titles would be like multi-glasses allowing to communicate with Klaus, I digress, I dream, I soar, I start to believe it; the moment when I think I hear pads of his hands, he who was a drummer at the beginning; yes the 4th phase is indeed the start of the album by associating what made SCHULZE the creator of the linear, monolithic, hypnotic and dangerously mantranic sound; of the bass rhythming our brain with the treble pricking our heart, or the opposite; in short the final part is an extension that definitively buries us next to him to whisper his last notes, oh there this chronicle becomes subjective, unreal, incredible

04. META arrives, follows, a sequel, a redundancy, a passage with the velvety keyboards always, with this synthetic pad that sets the rhythm, makes you close your eyes and listen in a syncopated way to the musical framework reveal itself, again and again; this piece goes by faster, I wonder if I fell asleep as I often do for more than 40 years while listening to Klaus; yes his atmosphere is in my skin from now on 05. UNI (part 1, 2 & 3) with the electronic latency that continues at first glance, you need the second drawer to have one of these openings of which only he had the secret; an electro air coming out of a keyboard, another from a synth and the piece suddenly comes to life; a little about JARRE's spatial orientation again, ah yes he did good things at the beginning too; this long monologue of high syncopated notes that seem to fall on a still damp cement screed; long contemplative melody to approach the Heavens, again; the easiest piece to access on the edge of redundancy, lacking that little extra that imprints the electronic progression; in short the finale slows down the air, the pads become more present, the low sound is gone, the one that reassured by offering another nap and another replay because of the brain's escape. An album from 2024 that takes the time to last in a disordered world, a bit paradoxical. (3.5). originelly on Planèteprog on Facebook.