KLAUS SCHULZE FEAT. LISA GERRARD – Rheingold: Live At The Loreley

In a word, this product is classy. From its immaculate production to its straightforward offerings, Live at the Loreley touts sheer elegance. Even the matted graphic on the foyer and the intuitive menu once the startup’s been traversed, demonstrate that Klaus Schulze’s caterers have fawned over and tailor-made his material for high society.

With all that’s dapper with this disc, it’s apparent that much went into making this evening special. Cameras catch and behold the important virtues of each epic song; scrolling around and zooming in whenever needed. Then all that attention and care continues on into the editing room. With that said, this DVD is more precious and impressive than an expensive party favor. Hopefully fans will cover the cost of each plate that’s pressed and attend this engagement from home.

As stated, Schulze’s focus is strictly on expansive pieces, and they’re mainly instrumental. The five-course meal includes “Alberich”, “Loreley”, “Wotan”, “Wellgunde”, and “Nothung”. That takes us from appetite suppressant to palate cleanser. Almost meditative in nature, it’s hard to fathom how his concentration can be so pinpoint accurate for so long. By the way, the last one in the list is best, because it’s very much like dessert.

Beyond the live event, an intriguing documentary and a notable interview come as a bonus in the second serving bowl. The former is biographical and covers the leading man’s real world antics. As for the other, the interviewer is critically-acclaimed. The sit-down is uncannily done by Steven Wilson from Porcupine Tree. The appearance of this introspective artist and his well-placed questions, turn what could be a standard inquisition into a treat. Plus, the setting is intimate and the rebuttals ping-pong from witty to demure. Out of the jillion topics they rifle through, the most interesting part involves a discussion on the preset and plug-in generation.

Also at the summit of the guest list is Lisa Gerrard who’s got on her formal gown and does all the singing for the event. She is Progressive Rock’s answer to Enya. Most of the time Schulze is alone in his tower of gear. He’s confident and steadfast without his partner in crime. Still, Gerrard’s operatic intonations enhance the aura on those occasions when she’s present on stage. Incidentally, she shuns verbosity as her verses use very few discernible words.

Oh, it’s probably worth noting what this music is like for beginners to this caste. It crosses the bridges and waters of Iona. Vangelis is also buried in his compositions; so much so that he should be signed to score the sequel to Blade Runner. The only criticism is that Schulze speaks in a manner that either needs subtitles or a translator. When added to Gerrard’s vague phrasings, the listener must be ready for this language barrier. Even so, his synthesizers are always easily understood and his dissertation is kept to a minimum. Not to mention, such a feature can be turned on. And in case you’re wondering why Wilson’s peripherally involved: Schulze’s soundscapes are elementally a lot like Robert Fripp, who Wilson has openly and frequently admired.

While the main course is only served with a couple items on the dish, each is buttered and sautéed to a point that leaves the watcher’s eyes and ears sustained. Afterwards, the richness of the concert is topped by food for thought that puts its audience in the company of two musically fly men.