xREL.v3

[ J U S T F U N . P R E S E N T S ]
A . D V D . R L Z

Artist.......: Klaus Schulze feat. Lisa Gerrard
DVD.Title....: Rheingold Live At The Loreley

Label........: Synthetic Symphony
[z0o]

[ D V D . I N F O ]

Duration....: Approx. 230 mins
Source......: 2*NTSC DVD-9
Aspect.ratio: 16:9
Region......: Free

Genre.......: Music / Electro.

Rlz.Date....: Jun-04-2010
Dvd.Date....: Nov-28-2008

[ T E C H N I C A L . I N F O ]

Ripper..........: Hello
Packager........: Kitty

Packaging.......: 95 x 50
95 x 50

Region.Code.....: Free
Disc.Format.....: 2*DVD-5

** DVD 1
Main.Video......: Live
Main.Bitrate....: CCE 9@5070
Main.Audio......: Ac3 2.0 channels             * stripped
Ac3 5.1 channels
DTS 5.1 channels             * stripped

Menu............: Edited

Subtitles.......: English

** DVD 2
Main.Video......: Interview / Documentary
Main.Bitrate....: CCE 9@4270
Main.Audio......: Ac3 2.0 channels

Menu............: Edited

Subtitles.......: English

[ A B O U T . T H i S . R E L E A S E ]

BiO :

* Klaus Schulze

As both a solo artist and as a member of groups including
Tangerine Dream and Ash Ra Tempel, Klaus Schulze emerged
among the founding fathers of contemporary electronic
music, his epic meditative soundscapes a key influence on
the subsequent rise of the new age aesthetic. Born in
Berlin on August 4, 1947, Schulze began his performing
career during the 1960s, playing guitar, bass & drums in
a variety of local bands; by 1969, he was drumming in
Tangerine Dream, appearing a year later on their debut LP
Electronic Meditation. The album was Schulze's lone effort
with the group, however, as he soon co-founded Ash Ra
Tempel with Manuel Gottsching and Harmut Enke, debuting in
1971 with a self-titled record; again, however, the band
format appeared to stifle Schulze, and he mounted a solo
career a few months later.

While Schulze's previous recorded work had been in a
typically noisy Krautrock vein, as a solo artist he
quickly became more reflective; although he acquired his
first synthesizer in 1972, it did not enter into his solo
debut Irrlicht, its long, droning pieces instead assembled
from electronic organ, oscillators and orchestral
recordings. The double album Cyborg followed in 1973, and
a year later he issued Blackdance, his first recording to
feature synths; Timewind, regarded by many as Schulze's
masterpiece, appeared in 1975. Around that same time he
began producing prog-rockers the Far East Family Band; the
group's keyboardist, who went on to become the new age
superstar Kitaro, frequently cited Schulze as the central
influence behind his own plunge into the world of synths
and electronics.

After collaborating with Stomu Yamash'ta on 1976's Go,
Schulze resurfaced with a flurry of new solo material,
including the LP Moondawn, 1977's Mirage and two volumes
of the porn soundtrack Body Love. He remained
extraordinarily prolific in the years to follow, with
1979's Dune, inspired by the Frank Herbert sci-fi classic,
becoming his 11th solo record released during the 1970s
alone. The 1980s were no less fertile, with Schulze
issuing a steady stream of new work in addition to various
productions released on his own IC label; Dig It was his
first fully digital recording. By the following decade,
Schulze had immersed himself in contemporary dance music,
occasionally working in conjunction with Pete Namlook (as
Dark Side of the Moog). The first half of the 1990s also
saw Schulze experiment with sampling, starting with the
album Beyond Recall, but these forays largely ended in
1995 with the release of In Blue. Ten years later, he
began re-releasing his earlier works and collaborating
with Lisa Gerrard of Dead Can Dance. In April 2008,
Schulze released Kontinuum; he also released Farscape, a
joint project with Gerrard, in June of the same year.

* Lisa Gerrard

In collaboration with Brendan Perry, Lisa Gerrard is half
of the duo Dead Can Dance, which started releasing arty
goth rock on the 4AD label in the mid-'80s. Gerrard began
her solo career with the 1995 release The Mirror Pool,
which contained a lot of work that wouldn't fit
comfortably into the DCD  oeuvre. Combining these
fragments with music that she composed and arranged
digitally before reconfiguring them into scores that could
be performed, it also draws on a composition by Handel
and traditional Iranian music. Recorded and produced
largely at her home in rural Australia, it extends the
world music inclinations of recent Dead Can Dance albums
by featuring bouzouki, tablas, and camel drums; though the
somber, orchestrated pomp of Dead Can Dance is also
present in her operatic, often wordless vocals, and
string/woodwind passages (some of which were performed by
Australia's Victorian Philharmonic Orchestra). Gerrard
released her second album, Duality, written and performed
with Pieter Bourke, in the spring of 1998. Gerrard
composed the score for director Niki Caro's Whale Rider in
2003, followed by Immortal Memory, a collaboration with
Irish composer Patrick Cassidy in 2004. Another
collaboration followed in 2005, this time with composer
Jeff Rona for the soundtrack to the Native American drama
A Thousand Roads.

REViEW :

Klaus Schulze and Australian singer Lisa Gerrard (formerly
of Dead Can Dance) proved to be an appealing combination
on their studio recording Farscape, and they also work
well together on Rheingold: Live at the Loreley. Gerrard
doesn't appear on all of this release's moody, hypnotic
material, but when she is featured, her performances add a
lot to this two-DVD set -- which is a live album more than
anything. All of DVD one is devoted to a July 18, 2008
concert in St. Goarshausen, Germany, while DVD two
contains the 65-minute documentary "The Real World of
Klaus Schulze" and a 55-minute interview (the interviewer
is singer/guitarist Steven Wilson, a member of the British
progressive rock band Porcupine Tree). Schulze's hardcore
fans will appreciate the documentary and the interview
(Wilson  discusses, among other things, the contributions
and influence of Tangerine Dream), but the concert in St.
Goarshausen is Rheingold's main attraction -- and Schulze
is in very good form on the songs that feature Gerrard
(the 14-minute "Wellgunde" and the 39-minute "Loreley") as
well as the instrumentals that don't ("Nothung," "Wotan,"
and the 24-minute opener "Alberich"). Some viewers may
argue that some of the performances drag on longer than
they need to and ask, "Did "Loreley" really need to last
39 minutes, and did "Alberich" really need to last 24
minutes?" But considering that Schulze's creativity is at
a high level, one can easily live with his excesses (or
perhaps even find them enjoyable). Overall, Schulze had a
creatively successful night in St. Goarshausen, and the
presence of Gerrard  on some of the performances is a
definite plus.

Homepage..: www.lisagerrard.com
www.klaus-schulze.com

You like it? Buy it!
Shop.Url..: www.amazon.de/Klaus-Schulze-Lisa-Gerrard
-Rheingold/dp/B001JDQALA

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