Richard Wahnfried - Miditation

Miditation, of 1986, is probably the most personal expression of Klaus Schulze under the label and the symbolic orientation of Richard Wahnfried. Out of all the albums made in this way, this one's the closest to the artist's stereotype and own compositional sign (Time Actor was a point of relation as well, still only as an allusion). A strong reason would be that, unlike everywhere, Schulze's all along in the action, without special guests or fellow musicians, sole exception being Steve Jolliffe's entry on one of the parts. So in the conditions of no real exterior influences, nor an evident desire to go for apart, it's pretty normal that everything resumes to "Wahnfried playing Schulze". Another justified reason, one not clear but perhaps not farfetched either, would be the level of performance that the two separate strings (separately) achieved, the accommodation within the private comfortable musical space rather than the special space and an exteriorization of common sense and leisure contact. By this I am implying that, on one hand, the Wahnfried release are a step below the Schulze albums and that, on another hand, the last two preceding this (Tonwelle less, but especially Megatone) were low and uncrafty, though of a Wahnfried concept. Formality and familiar perspective, thus, can't be regarded as a minus; on the contrary, as I'll evidentiate further in the review, it can create a reference - one powerful. The taste of Wahnfried here isn't creative nor fascinating, for that matter, at all; yet it does (and not surprisingly) a good job.

Short words for Jolliffe, I would recommend as a great reference his guest works on Tangerine Dream's Cyclone. A reference not only to his talent, but also to show how relatively faded he performs here. Thus my saying that Miditation is, after all, full Schulze, nothing of prominent other effect.

The essence correlates perfectly with the Schulze music, but the style however doesn't.Up to the year of 1986, Miditation is rather a work of classic or after-classic reference, not a contemporary flavor. One track, being done in 1981, is a solvable case. Yet the other one, of 1985, is a mismatch. Going on ambient effect and synthesizer grand scaled work, this is probably the sole discrepancy of common connection. Interesting factor nonetheless.

Music of the album would fit somewhere up to four stars, it has a nice pulse and a fine story to tell, it carries the opportunity of self-observation, it denotes some stylistic qualities and such. Still critically it has a major problem over which things cannot go neglected (not even I, the Schulze lover and indulgent, can take the risk of leaving it aside). One side of the problem would be the simplicity, in a caustic form and a sense of things going still, not elaborated and not of proper composition of the dense speech. Perhaps not of damage, yet a character that marks a flow of impurity and narrow satisfaction. Another side would be the tardy aspect of the construction; denoted by the simplicity, few things happen, fewer things change; getting ahead of the moment means getting ready for a longevive listen with few sparks; clear detriment. And yet another inefficiency would be the slim profoundness and the incomplete presumable feeling that can get as an accent in the compositions. The pieces are outlined, but they don't stand at the highest possible reach. The album's in a respectful state, yet these glitches torment the attention. Overall, Miditation is far from excellency, yet remains distinguished. No refinement though.

The title track is the best, giving a dignifying glimpse over what, when and how. In the tempo of a sound exploration and in the mood of electronics chargement, it has the qualities to uphold the expression's strength and the maneuver to describe in a tempered exhilarance and a quiet reaction of the imposant, the significant and the memorable that can stand within the reflection. Vitalized by a simple, yet to the point character, it's nothing but a trance of moments, a chain of materialized thought and a pleasant dream within a personalized space. Interesting and impulsive.

I wouldn't recommend too much appreciation on Midiaction, though the knowers can be easily captured by the familiar used theme (the essence of Friedrich Nietzsche, in a stable mid-zone of evolution). I feel discontent regarding how shallow elaboration is done over the main theme and the tardive feeling that generates ubiquitous and utter queer flow. Unusual for me to say it, being a fan, but this piece doesn't offer much and, in the worst of situations, it can get of monotone caliber. The lack of subtlety is pronounced; and everything looks of hazard and of short breath.

Therefore, I settle upon an overvaluate three stars position, reminding both how important and referential it can be, as Wahnfried is concerned, as well as how pros-cons the aspects' firm critic gets. Not something incredible; yet always of the potential necessary. Music defines. Stability breaks.