XI album in Pete Namlook & Klaus Schulze "The Dark Side of the Moog" series now coming out with multichannel sound in DTS-CD 5.1!

This CD is a further step in the collaboration of Klaus and Pete. The “old” collaboration parameters are expanded with very intense and emotional moments that take the listener on a journey of a new quality. Monumental, spacy, environmental and beat-oriented. The “new” way removes limitations.
The Dark Side of the Moog up to “X” was a nice journey through the history of “Space-Music” in combination with the innovative music of today. “XI” is clearly a step further. Using a lot of analog, digital and futuristic virtual equipment combined with vast computer power to generate a sound that goes beyond its predecessors. For the first time “The Dark Side of the Moog” comes in DTS 5.1 Surround. The monumental power of “The Heart of Our Nearest Star” and it’s imaginary scenery is clearly made for big sound systems.

CD tracks: The Heart of Our Nearest Star Part I - IV 56.10 min
DTS 5.1 Music Disc/Stereo 2CD. For compatibility reasons (to listen to the music in the car or at your friend’s or if
you don’t own a DTS capable 5.1 Surround System) we included a stereo CD version in the double CD-pack.

The “Dark Side Of The Moog” project is a definitory spot in Klaus Schulze music,one worthy and of quality.Its long expression throughout the ‘90s and into the contemporary years is by nothing an exageration or an over-confidence in power,posibility and prosperous vision and not unjustified,as it counts as a prolific collaboration and a beautiful experiment of music and concept.Yes,an experiment,a test is the way I see it.Taking the risk to put aside the Ash Ra Tempel moment of history,I call “Dark Side Of The Moog” a most important subject done by Klaus Schulze outside his personal discographic sphere.Pete Namlook is a good musician and a keen electronic style (now regarding him I will just name him a good partner for Schulze,as my preferences make other artists more important as collaborators;still nothing denigrating by this,the point at which the Schulze/Namlook sense is situated goes relevant).Such a collection would not be a waste of effort.No true masterpiece,true,plus a slight dilluation as we advance in time.But many are a thing of value and the emotional journey reaches a state of interest.The ten (current-though both Schulze and Namlook affirmed they’ll stop to ten) Dark Side Of The Moog albums are a forte music thought and a notable reference.Its individualization into a firm speech is not a mere impression.

As a reviewer of this album and,generally speaking,of this concept,I must bring everything explanations regarding the ideas corelation.Easy to observe,this project paraphrases or sends the thought to Pink Floyd titles or pieces name.Each volume wears a different signature.However,there is absolutely no match between the Schulze/Namlook style set and Pink Floyd.Paraphrasing is not a wrong thing.And in the case of no connection,there isn’t really much to be discussed.

Concerning Klaus Schulze,his influence on the “Dark Side Of The Moog” albums is not that proeminent or,at least,not so obvious.Few albums make a strong visible connection with the main essence of the electronic grandmaster.More than that,the first four or five volumes do no even match with the contemporary (at that moment,in that year,I mean) style of his.Between any of the 1993-1996 Moog albums and the sampler creations of Schulze is a complete difference.Pretty interesting as a fact of study.Although I have no experience in the artist himself,I can define a considerable share of the Moog concept more “namlookian” than a Schulze brand.Nonetheless,this is only an aspect that clearly outlines the place “Dark Side Of The Moog” has.I am sure that for the Schulze fans,this side project will be a pleasure.

A difference between the two artists themselves is to be observed.Still that means no problem at all,as the two opposite polls suceed in avoiding a chaotic substance and a derizory result.The two impulses blend into the actual presentation,perfect and vaolrous.If Schulze makes a style approach (to not say compromise,I don’t like that word),Namlook does a connotation of sound.If Namlook enlightens the electronic definition,Schulze keeps the abstract and the moog steady and emerging.In short words,Peter Namlook and Klaus Schulze make a fine duo.

As all said above can corelate to general scales of “Dark Side Of The Moog”,here is about the first volume,subtitled “Wish You Were There” (I don’t have to tell what’s the Pink Floyd paraphrase now,do I?).At the first listenes,this was a fabulous album for me,the greatest of the volumes.Eventually things cooled,this resuming to a fine,more than decent,musical speech.A good “debut” for the concept and an important reference for the definition of it.Even more:I do like to consider this as well as the second volume as the perfect acts to describe what the essence of “Dark Side Of The Moog”,as the other drive somehow away from the focuspoint that counts.From volume 3 onwards the “dark” tends to loosen up,being either a “dynamic side of the moog” or a “techno side of the moog” or an “ambient side of the moog”.Also,I have the observation that every moog volume is weaker than its previous (with exceptions).That should make “Wish You Were There” the best.Well,it isn’t the best,but it’s among the best.One large piece,of two main themes,one dynamic and techno-oriented (“shining electronics”),one slow and clustered.The two alternate twice,resulting a repetition of the full speech.Everything is done minimalistic,in a way of savouring the moment.It’s hardly a complex feature,or a work of styled perspective,but it is a refreshing moment,denoting a rafined view.Not essential;but interesting enough to claim a spot.

Philip Desmond Halloway @ Prog Archives