Name: The Dark Side Of The Moog Vol 1-4
Brand: Klaus Schulze

Bonus disc

Bonus disc: No

Catalogue number

MIG01380

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2022-06-10

Signed copies

Signed copies: No

Supplier GB

Proper

Tax rate GB

Standard:20

UPC / Barcode

885513013804

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Total Cap

5 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Klaus Schulze

Genre GB

Electronic

Label GB

Mig Music

Mig Music is an independent record company founded by a2433871 in Hannover, Germany in 2009. The label has gained recognition for its diverse catalog and commitment to supporting independent artists.

Under the *MIG* label/brand, Mig Music distributes its catalog worldwide through a network of independent partners. This allows their music to reach a global audience and gives artists the opportunity to connect with fans from all corners of the world.

With a focus on quality and artistic integrity, Mig Music continues to discover and nurture talented musicians across various genres. Their dedication to providing a platform for independent voices has made them an influential force in the music industry.

Klaus Schulze (4 August 1947, Berlin – 26 April 2022) was a German electronic music pioneer, composer, and musician. He initially gained recognition as a drummer for Psy Free, Tangerine Dream, and Ash Ra Tempel. In 1971, Schulze embarked on a solo career as an electronic musician and released experimental albums like "Irrlicht" and "Cyborg." His groundbreaking use of the legendary VCS 3 synthesizer in his album "Cyborg" marked a significant milestone in his career.

Throughout the 1970s, Schulze continued to push boundaries with albums such as "Moondawn," "Mirage," and "X," while also embarking on numerous tours documented in live recordings. In the late '70s, he established his own label [l4293] and launched the pseudonym/project Richard Wahnfried.

In the following decade, Schulze maintained an intense release schedule alongside recording soundtracks and transitioning to digital production. He collaborated with opera singers and classical musicians on his albums while also exploring techno-inspired directions through projects like "[a29599]" with Pete Namlook.

During the 1990s, Schulze ventured into electronic interpretations of classical works by composers like Wagner. He further expanded his discography by collaborating with various artists from different genres. A comprehensive reissue program of Schulze's music began in 2005.

Meticulously curated box sets featuring exceptional audio quality, stunning visuals, and exclusive bonus content. Explore genres, eras, and artists to find the perfect addition to your collection.

Box Sets

In 1994, Klaus Schulze was able to look back on a long, successful and highly influential career, but he was also able to embrace the new. He was in the midst of his 'digital phase', fascinated by sampling technology, and had a clear idea of where he could go with the technology, which resulted in albums like 'Beyond Recall'; the Royal Festival Hall recordings - 'The Dome Event' and even to an extent his opera 'Totentag'. By contrast Peter Kuhlman a.k.a Pete Namlook had just started.

In 1992 he had founded the seminal Fax label, which was both a vehicle for his own recordings and a chance to collaborate and release recordings from likeminded musicians from around the world: Robert Görl of DAF; Geir Jenssen of Biosphere fame; the ever-eclectic Bill Laswell; Ritchie Hawtin; Lorenzo Montanà; Gabriel Le Mar; Dr. Atmo and David Moufang to name just a few. In an interview from 2002, Pete remembered:"In fact, the detonation was 'Air II' - the spacey part of the track 'Travelling Without Moving' enthused Klaus. 

He wanted us to start to work together at once. It was the music that was of importance to him.Although Klaus had had no interest in working together before on principle, I knew I could convince him with my music. That was the key of our co-operation. The track was in a sort of Schulze / Tangerine Dream style with its analogue synth-bass sequences; it became apparent to both of us that we should approach things with analogue tools first of all. Although it wasn't so easy initially, the musical result finally convinced him. I didn't want to do just a remake of seventies space-music - I intended to meld it with the beats and sounds of today's electronic music, and I think we succeeded."

The Dark Side Of The Moog Vol 1-4

Music GB