Klaus Schulze-X (1978)

Klaus Schulze would with his album "X" (his tenth work until that date), mixing baroque and classical music and electronic music giving it a very advanced character. 

In this album Schulze narrates the "musical biographies" of six intellectuals such as F. Nietzsche, G. Trakl, F. Herbert, F. Bach, von Bayern and von Kleits, reaching their highest peak of popularity and musical achievement of all his career.

Klaus Schulze-Mirage (1977)

"Mirage" was Klaus Schulze's eighth album, released in 1977. Like his previous works, Timewind and Moondawn, it features only two long tracks, showcasing visionary music centered around mental imagery. Here, Schulze again displays a wide array of different analog synthesizers, such as the non-modular Moog, Farfisa, and Mellotron.

The result is sumptuous, a cerebral and emotional exploration through time and space that begins with "Velver Voyage", a cosmic journey where strange sounds and profound, ethereal synthesizer contrasts are accompanied by a menacing bassline. In the second track, "Crystal Lake", Schulze delivers one of the most brilliant pieces of progressive electronic music ever recorded, replete with celestial, repetitive, and dreamlike melodies, enveloping much of the composition in a hypnotic and, at times, terrifying state. In “Mirage” the German musician crafted a wide range of abstract electronic sounds that are progressively incorporated to create an imaginary, progressive, fascinating and unique music.

Klaus Schulze-Blackdance (1974)

The third solo album by German synthesizer wizard Klaus Schulze is a kind of transitional record between the avant-garde "Irrlicht" and "Cyborg" and the more accessible "Timewind" and "Mirage". "Blackdance" was originally released in 1974, but due to printing errors in the date on the album covers, it was for some time believed to be the fourth album after "Picture Music" (1975), and was erroneously listed as the fourth album on a number of more recent CD reissues. However, its chronological order has now been correctly restored. On "Blackdance", Schulze crafts incredibly dark, immersive, and abstract space music, and for the first time uses the human voice on one of his albums. To achieve this, the keyboardist recruited vocalist and percussionist Ernst Walter Siemon, who delivers operatic vocals in the first six minutes of the hypnotic and dark suite "Voices of Syn". Other highlights include the spacey and psychedelic flourishes of "The Ways of Changes" and the recurring minimalist electronica of "Some Velvet Phasing". However, despite being one of his most distinctive and interesting works, this third album by Klaus Schulze is often overshadowed by more mainstream releases like "Mirage", "X", or "Timewind".

Klaus Schulze - Timewind (1975)

In 1975, Klaus Schulze released his fifth album, "Timewind", achieving the sonic perfection he had begun to explore in his work from the previous year, "Blackdance". But to reach this point, Schulze had already traveled a long road with Tangerine Dream, Ash Ra Temple, The Cosmic Jokers, and Stomu Yamashita in the band Go. Therefore, it was no surprise that with such a resume, Schulze had ample experience to create great things with his solo albums.

Conceived as a concept album, Schulze dedicated this work to his admired Richard Wagner, using sequencers for the first time to create walls of sound with hypnotic effects, achieving highly refined cosmic sounds.

As was typical for the musician, Schulze played all the instruments, and the album's duration was an hour, a difficult feat for vinyl formats at the time, divided into two 30-minute tracks. With a magnificent surrealist cover art, reminiscent of Dali, Schulze seamlessly blends electronic music and space rock with superb arrangements. Its opening track, "Bayreuth Return", is a vast epic of musical exploration where the German musician pushes the Moog synthesizer to its limits, while the second side of the vinyl, "Wannfried", maintains a similar tone with a mysterious aura, a touch of grandeur, and rich melodic fragments. 

The album was overwhelmingly well-received by both the public and critics, who went so far as to define it as the definitive work of Kosmiche Muzik in its electronic form.