|Together with Marie-Laure.|
at IRCAM entrance.
|Together with Marie-Laure.|
at IRCAM entrance.
After September's Grote Kerk event, I started to move my studio. My large room had to be swapped with the smaller sleeping room of my son, who definitely needed more space.
|Klaus Schulze in 2022.|
Amongst the so many albums (more than 40 and far over 100 releases) Schulze released since the early 70s, there are a lot of instant classics including "Timewind", "Moondawn", "Mirage", "X" and "Dune". However, for me "Dreams" (specifically the original 5 tracks release on the Brain label) always topped this list. Besides what I have just mentioned, this might also be because Klaus' mid / late 80s were relatively 'less productive', and his music sounded more balanced again at this point after the chaotic early 80s output of his Poland era.
For a lot of my solo concerts, the 1997 "Dosburg Online" concert and its structure continues to be a source of inspiration. The tension and variation of this performance is absolutely brilliant from the beginning to the end.
Still, so many people associate electronic music with computers, DJ's, robots, the universe, or whatsoever. But there are so many acts involving electronics without even having any connections with any of the above. Yes, the equipment is and remains something (that can be) automated, but in the end it's the artist who should make this equipment come to life. And Klaus mastered that like no one else.
Outside the fact if you like his music or not, most of Klaus' logical sounding chord progressions and naturally evolving transitions made largest part of his music sound familiar and approachable.
The combination of detailed, stretched out and layered storylines, progressing themes, and speaking leads let his compositions come to life and breath even more. And there are still not many artists who managed to do the thing what Klaus did during his 50 years career.
|Klaus Schulze live at the Loreley (2008).|
|Together with Klaus Schulze and Ewout Koek (2001).|
After the Osnabrück concert in 2001, I got to speak to my musical hero. At that time I just released my first official cd, "The Art of Imagination", which I presented to Klaus.
Despite the fact that Klaus Schulze has always been a solitary musician, who mainly focussed on his own music, he kindly accepted my album.
We had a small talk about my music, and Klaus had to smile when I told him that people mentioned me as his follower-up. Which, indeed, was way too much credit after having just released two albums back then.
A lot of wonderful memories. The train trip to Cologne. Smuggling recording equipment into the concert site of Kickzone. Getting Klaus' first autograph after the performance. Trying to get a fully booked train earlier after the concert because all nearby hotels were also fully booked and we haven't had any sleep for more than 24 hours. The bus trip to Osnabrück. Getting recognised abroad as artists for the first time, at the KlangArt Festival. Smuggling recording equipment into the venue, and finding out that there was no security check at all. The excitement when Klaus started the sequence during the second part of the show in Osnabrück. Klaus sitting on the stage to chat and sign after the concert when there were left only a handful of fans at the venue.
|Deus Arrakis (2022)|
One of my most memorable concert experiences without doubt was when Klaus Schulze and Dead Can Dance's Lisa Gerrard joined forces, and performed at the Freilichtbühne Loreley, St. Goarshausen, as part of the second Night of the Prog Festival in 2009. It was magical and moving, and at some points highly emotional. Part of these emotions are now coming back again.
Klaus, thank you for being part of my life. Without your music my musical world would definitely have been something completely different.
Sadly Klaus Schulze didn't make it to the release of his new album "Deus Arrakis", which will be released posthumously on June 11th.
4-8-1947 - 26-4-2022.
|At the Grill Fest 2008: Remy, Sylvia, René and Klaus-Ulrich.|
|Sylvia hosting last year's|
An end has come to this strange year 2020.
Like every year, I would like to look back at this year's musical activities.
Because of current situation, I have so many plans for next year, but because it's uncertain yet when old-fashioned concerts and festivals are going to be take place again, there are no concrete events planned. As always I am involved in a couple musical projects, and I hope to extend my Deserted Island Music label with more new and interesting releases. This year there have been four new albums on my small label (which are mentioned below), and hopefully our catalog will grow within next years.
But before the highlights, before I forget: I am wishing everyone a great, musical and prosperous 2021.
And that we are able to meet soon again in real life!
Now, I am aiming for a more consistent exposure of my label, so if you have any suggestions for great electronic music which definitely needs to be released, or if you think your own music fits within our catalog, don't hesitate to contact me!
For more details, see the links below or visit www.desertedislandmusic.nl.
Here's a short overview of this 2020's releases:
Read more about the album on my blog:
It seems that I haven't written a blog item about this album, but you can listen to album excerpts here:
On December 19th Peter and I did a live stream concert at BYSS. Below you can read about this.
On my blog I wrote about the limited edition LP release:
All versions contain slightly different tracklisting, and while the LP has been mastered by Patrick Pelamourgues, the CD and download have been mastered by Michel Geiss.
In first instance this concert was streamed live via Facebook. For all who missed it, the concert has been archived for watching on the same URL as the live stream:
Because not everyone has a Facebook account, the slightly enhanced version of the concert has been uploaded to YouTube: https://youtu.be/3bDa1O8ZOF8
Adjustments are described in the video credits.
Then, last 30 minutes of our concert was also broadcast live on Wim Dekker's radio show Haarlem Underground at Radio Haarlem 105:
Last but not least, the entire concert is going to be broadcast on Jos Verboven's radio show Electronic Fusion on January 2nd.
The two hours REMY & Däcker special is going to be co-hosted by Peter and me.
My report of this adventure can be read on previous blog post:
That's it for now!
I am very curious about what 2021 has to offer. For now, stay safe!
I was looking forward to it so much, because of a couple of reasons.
It was my first and only concert of this strange year 2020, and it definitely felt good to be back on stage.
On top of that, it actually was the first live concert stream I ever did. Ok, I did concerts with an audience which were also streamed, but this was different.
Then, it was a pleasure to do this concert together with my good friend Peter Dekker. Recently I produced his debut album "Pareidolia", which was released on my Deserted Island Music label, under his alter ego Däcker.
Initially I was quite sceptic about live streams. Especially when loads of artists decided to do free streaming concerts at the start of the pandemic, while they normally would have played for a paying audience, didn't feel right.
|FoH view at BYSS.|
You all have to know that "Pareidolia" by Däcker was born out of an improvisation session, recorded by Peter in August 2018. Peter had doubts he could fill 1,5 hours of live music himself, so we soon immediately agreed to do the performance together. Not focussing of any existing material, but let go all expectations, and just play. Blending both our influences and visions into a non-prepared improvisation session.
However, I did a lot of studio work with his 2018 recordings, and added my part to it, but it was only two weeks ago that we played together for the very first time. Although this might have been risky, it luckily worked out pretty fine! So the basis was set for this concert.
|Setup at Peter's living room.|
After Peter and I arrived at Bas' farmyard (the studio is built in a former pigsty) around 15:15, we set up all equipment, which went really smooth, and prepared for our live appearance really easy in the remaining hours.
Last couple of days I had already been busy preparing the visuals, but I also worked on something special for Peter. His musical heroes and inspirators Rob Papen, Steve Baltes, Michel Huygen, Eric van der Heijden and René Splinter recorded some very nice messages about their connection/friendship with Peter, "Pareidolia", and the upcoming concert. While featured as introduction of our performance, Peter only got to see this after the concert, and I was pleased to know it moved him.
After the concert we had a little chill out, before packing all our gear together, and headed to the west again. For me it was almost a three hours drive, but still kicking from all adrenalin, and the good conversations together with Peter, made the time pass by without noticing.
It was a pleasure to do this concert together with Peter. Hopefully there is more to come in 2021!
Thanks to Bas Broekhuis for this great opportunity and the warm welcome, and I expect to come back to BYSS in the new year with Mäläskä and perhaps also REMY.
The entire concert stream, including the introduction can still be watched (and commented on) on Facebook. I will also put it on YouTube later this week.
The final 30 minutes of the concert were also broadcast live on radio Haarlem 105, hosted by Wim Dekker. The archived program can be listened to via this link.
And also write down January 2nd, 2021. The entire concert is going to be broadcast during Electronic Fusion #278. Normally hosted by Jos Verboven, but for this episode, Peter and I will take over the show. Supplemented with more of our recently released music.
Then last but not least, for all gear nerds, here is the list of used equipment:
Peter: ASM Hydrasynth, E-Pro Spirit, Moog The Rogue, Roland VP-330, Sequential Prophet 12.
Remy: Clavia Nord Rack 2, E-Pro Minisynth, Korg Kronos X, Novation Supernova 2.
It was May 2018 when the First 4 Figures company announced another resin figure of one of the main characters of one of my all time favourite games, "The Legend of Zelda - Twilight Princess" (released for Nintendo's GameCube in 2006).
|Wolf Link and Midna (game scene).|