Departure from the Northern Wasteland, a classic of the progressive electronic genre, contains four pieces that are almost perfect in their realization of the sequencer as a compositional tool. Hoenig took the concept of repetitive music further than most anyone in his homeland and claimed his inspiration was drawn from American minimalist composers Philip Glass, Steve Reich, and Terry Riley. The title track is a sublime 20-minute journey through ever-changing melodic and rhythmic phase relationships, creating the vivid sensation of a train ride through misty Northern European landscapes. "Hanging Garden Transfer" then speeds things up a little and is therefore less ideally suited for falling asleep (or waking you up). "Voices of Where" makes the picture of Path Finder on the desolate planet of Mars, appear before the mind’s eye, searching for any proof of life: not a single beat, just wonderful dreamscapes…

Klaus Schulze, one of the most illustrious exponents of the kraut-electronic musical current, was born on the 4th of August 1947, right in Berlin, the heart of the entire action. He has also used the alias Richard Wahnfried. He was briefly a member of the electronic band Tangerine Dream as well as cofounding Ash Ra Tempel before a pioneering and prolific solo career of 40+ albums (totalling 110+ CDs) in 30+ years.
In 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream for their debut album Electronic Meditation. In 1970 he left this group to form Ash Ra Tempel with Manuel Göttsching. In 1971, he chose again to leave a newly-formed group after only one album, this time to mount a solo career…

Richard Wahnfried is the side project of Berlin electronic pioneer Klaus Schulze. The pseudonym's etymology comes from Shulze's admiration for Richard Wagner. The name Wahnfried was previously used in a title from his "Timewind" album. The project has started in the late 70's. Musically it alternates Schulze's usual synth material in his solo works and a handful of instruments as guitar, tribal percussions, saxophone thanks to the collaboration of several famous rock musicians. Each album features guest musicians as the vocalist Arthur Brown on "Time actor" (1979), Schulze's friend and guitarist Manuel Gottsching (Ashra Tempel) on "Tonwelle" (1981). Carlos Santana's drummer Michael Schrieve also participated on several albums. The result is orientated to more mainstream genres with a constant exploration in electronic, "space" synth music.

In 1991, Klaus Schulze performed three concerts to celebrate his 20 years as a solo recording artist. The Dome Event: Cologne Cathedral is the third concert and the third CD. Like the other two CDs, this disc has an extra track, composed to match the live material and recorded in the studio. Schulze is a prolific live performer, and his music loses nothing in the translation to the concert stage. This disc features his signature heavy sequences, some very gentle acoustics, and deep atmospheres. Strange vocal samples take the set over the top.

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. This was recorded at the Night Of Prog Festival at Loreley in July of 2008. We get over 131 minutes of music.

The Essential 72-93 is a makeshift best-of, piecing together some of Klaus Schulze's most alluring and interesting electronic offerings. With 14 tracks from over ten albums, this compilation is a generous retrospection into this former Tangerine Dream member's material. Many of his masterpieces are included on this double CD, like the swirling electronic breeze of "Wahnfried 1883" from 1975's Timewind, or the out-of-body atmospheric waves of "Floating" from Moondawn. Also breathtaking is the ten minute synthesized soup of "Ludwig II Von Bayern" off of the monumental X album, and the chilling glaze of "Freeze," a superb example of keyboard artistry as Schulze precipitates an icy climate from basic tonal applications…

Electronic music pioneer Klaus Schulze has released Silhouettes, his first album of new music in 5 years. “In the wake of your 70th birthday, you naturally find yourself looking back at the past,” notes Schulze. “So the result is a reorientation, a renewed awareness of what is really important.” With this album, Schulze says that he has tried to reduce his music to its essential elements. “No great distractions, nothing to force your attention in a certain direction, no major effects or gimmicks, no frills or dominant rhythms,” he explains. “ It was important to me to paint the pictures in the depth of the space, the sonic fields of tension and atmosphere.”

Shadowlands contains just five tracks over 2 CDs, and as we've come to expect from Schulze, look for plenty of mind expanding explorations into space and loads of calming tranquility. The near 57 minute "The Rhodes Violin" offers up soothing, at times fluttering synth washes, brief spoken word vocals, and a myriad of ethnic Middle Eastern instruments. The epic title track opts for more menace, and will remind some of the early Tangerine Dream material, complete with ominous synth & Mellotron sounds plus those Middle Eastern influences. You'll even find some intriguing space rock mixed with programmed dance rhythms on the intriguing "In Between". With well over 2 hours of material on Shadowlands, there's a lot too digest, and unless you are a real fan of electronic/ambient/space rock, some of this will wear out its welcome pretty quickly, but for those who have followed Schulze throughout this career and don't mind some well executed exploratory sounds, there's plenty to dig into here.

The title "Moonlake" refers to Schulze's love of the Austrian Moonlake and the monumental fascination radiated by this lake and its surrounding landscape. All of this is perfectly reflected in the intensity and power of this album. "Moonlake" is nevertheless a typical Klaus Schulze album, one that in the words of Schulze "unites tradition and vision". There is a noticeable focus on percussion on "Moonlake", which hasn't been found on Schulze's albums for some time. While rhythm was often used as an element to supplement the music on his earlier albums, it takes on a more dominant role on "Moonlake".

After the extremely successful studio album Farscape and the live CD/DVD Rheingold, Schulze and Gerrard released yet another live CD revealing further highlights, entitled Dziękuję Bardzo (Polish for 'Many Thanks'). This 3-CD set not only contains a complete recording of the concert which took place on the 13th of November 2008 in the Bazylika Ojców Salezjanów in Warsaw, but also a complete concert recorded the day before in the Schiller's Theatre in Berlin.
The Warsaw concert in particular was a big emotional moment and a triumphant return for Klaus Schulze: 25 years after his last concerts in Poland (which can be heard on the double CD Dziekuje Poland Live 83) he returned to the place where he can count on his most loyal fans. As always with Klaus Schulze, exclusive new pieces were played at both concerts…

In 1980 Zanov began working on a fourth album, but lacking time needed for such a creation, he decided in 1983 to take a break, vowing to resume one day. In 2014 Zanov got an Arturia Origin synthesizer and digitalized all of his recordings from 1983. He modified and completed these recordings to recreate the sound environment. Featuring a dazzling display of electronic instrumental music sounds, Virtual Future sounds like a throwback to the late 1970s.

Enigmatic, surreal, futuristic and deeply mysterious are the keywords to best describe Zanov’s 3rd album “In Course Of Time”. Legendary French synthesist Zanov, aka Pierre Salkazanov, already started work on this landmark album before his last concert in Villebon (near Paris) in June 1978, followed by some significant changes in 1979.
The tracks of the classic recording ended up on different tapes, the first composition being “Sky Energy”, followed by “Lost message” “Phantasm”, “Infinitude”, and the title track “In course of time”. In the creative process, Zanov made extensive use of the VCS3, ARP2600 & RMI Harmonic Synthesizer (at that time he didn’t yet have the Korg PS3300) and recorded the outcome on the TEAC3340S…

Zanov is one of the great electronic musicians of France of the past and present! “Moebius 256 301” continues the soundscapes introduced on “Green Ray” with new melodic elements creating another immersive aural experience, this is its brief history. In December 1976 Zanov expanded his synthesizer set up with a new ARP2600 with sequencer. 1977 shaped up as a busy year expanding Zanov’s musical realm with a series of live performances and more instruments offering new musical possibilities. “An Zero” was the first composition completed for Moebius while preparing for his first live concert at the Paris Laser Olympia in March 1977…

Zanov is one of the great electronic musicians of France of the past and present! Zanov is really Pierre Salkazanov who recorded three albums of electronic music between 1976 and 1983, Green Ray was the very first. He takes a spacy, minimalist approach, utilizing an ARP 2600 plus a VCS-3. Groove Unlimited is proud to re-release this Gem of the French history of Electronic Music!

Lost in the Future is a progressive electronic music album that explores the idea of being immersed in the future world, suggesting a sense of adventure, uncertainty, and the enigmatic nature of what lies ahead.
Zanov is one of the great electronic musicians of France of the past and present! Zanov is really Pierre Salkazanov who recorded three albums of electronic music between 1976 and 1983.