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on May 30, 2012
As the reviews here indicate, KS fans are very divided when it comes to Audentity. Is it self-indulgent, noisy trash, or daring, experimental brilliance? I am firmly in the latter camp. My first KS album was Body Love Vol. 2; Audentity was my second. I must admit, going from a classic retro synthesizer-based album to this avante garde conglomeration of electronics and symphonics was quite a jolt. I liked the long, meditative pieces "Cellistica" and "Spielglocken" immediately, particularly the latter. But I didn't know what to do with the three shorter, quirkly tracks and I thought "Sebastian im Traum" was unlistenable weirdness...at first. From melancholy strings, doors slamming, and all sorts of seeming random, unrelated noise, emerges a beautiful crystalline sound forming the main theme that holds the 28-plus minutes together. It took several patient listens, but eventually I became enthralled with it. Audentity is one-of-a-kind in the extensive Klaus Schulze canon. For the uninitiated I would definitely start elsewhere, but for the adventurous you will be richly rewarded.
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on August 11, 2007
Audentity features Klaus plus Michael Shrieve (the original drummer with Santana) on percussion, Rainer Bloss sounds and Glockenspeil, and Wolfgang Tiebold cello. The sound is clean, abstract, and somewhat introspective due to the cello. The original release was a double album with a lot of music. On this reissue Klaus re-distributed the tracks, simply so the bonus 58 minute track "Gem" could fit on the second CD. "Gem" was recorded at the same time as Audentity and intended as the score for the Australian horror movie "Next of Kin". The sound is dark, gloomy, and aggressive, but the music was never used in the movie.
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on November 17, 2000
People like to judge what is best and what is not. This is very human and I am no different. Most people can't take more than a clip by Klaus Schulze and that is fine by me. There are also those who like his performances and try to refer any of his recordings to "good old times".
Artists search for their medium, explore new landscapes, if they are brave enough to follow their fantasies, and not comply to their fans' demands. This is especially the case with Klaus Schulze. All of his albums are pure sound experiments, and only sometimes they happen to carry a recognizable tune. All his records contain tracks that have maximum length allowed by recording media in a given time span.
Klaus puts a lot of effort into creating an atmosphere. Meditation is his ultimate goal. This is why his music is lengthy, monotonous, although not repetitive, and there is little tension per minute. Altogether, if you like to get lost in thoughts, he will carry your mind further than you would have done yourself - if you supply your brain with some of his experimental music.
"Audentity" stands out in the crowd of his albums. First of all, it's a double CD, and every single track is worth your attention. The climate changes significantly across 6 tracks, from violin-propelled sequencer journey of childhood: "Cellistica", through adolescent pains, humps and slumps in the form of "Tango-Saty" and "Amourage" to the maturity and stability of "Spielglocken". Then the rhythms vanish altogether and you enter the scary world of senile autumn of life. No more beat, no more organization, just the creeps, interluded only with pleasant memories of spent life - "Sebastian in Traum".
"Audentity" is the musical base on which "Thank You Poland" is developed. The latter is an amazing concert suite, again a double LP. I dare to claim that these two recordings set a standard so high for Schulze himself, that only 12 years after he managed to get close to it again ("In Blue").
"Audentity" and "Thank You Poland" are Schulze's masterpieces. I am positive that no one can be "persuaded" to Klaus Schulze. But if you happened to own/hear some of his work and need a guide, then you may as well start from these two.
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on August 1, 2002
First of all, I think it is wise to define for the new listener what music K Schulze does. K Schulze does experimental music, which he s done since the early 70 s w/ guitarist Manuel Gottsching in as hra tempel. Mr Schulze focuses more on keyboards, and other accesories like computers, and different types of keyboards to create the sounds he wants or attempts to achieve.
On this double cd, it is done very well. There are 95 minutes of music total on this album. The first disc is a mix of different sorts of sounds. Even I think, sounding like different styles from different parts of the world. There is lots of percussion, and lots of experimental keyboard. To my liking the song Amourage really wins two thumbs up for taking over the identity of this disc (the first one). On disc two, we have to big songs, Spielglocken, & sebastian im traum. Spielglocken is a very cool song (Way nice arrangement throughout). Very enjoyable.
The last song Sebastian Im traum is the song that takes the cd away. It is a song that shows you the incredible degree or level of arranging that this man has. Artists like Robert rich come close on this type of music, and succeed in their own offerings and efforts, but Sebastian.. will leave you amazed at the skill that it took to arrange the song and to execute it, to sound like the wrath of god coming at you.
Awesome record.
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VINE VOICEon February 13, 2016
Audentity, released originally in 1983, has aged well. At this point in his career Klaus Schulze is making ample use of sequencers which allow him greater control over the electronic instrumentation and sound. This album features a mixture of songs that are melodic interwoven with complex harmonics and others that are a bit more experimental and operatic in style, foreshadowing some of the future directions that he is beginning to explore. Needless to say, this is great listening, and you merge with electronic flow of the music.

Klaus Schulze in this album is very accessible, and his richly textured music is a joy to listen to.
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on August 11, 2009
In 1982 Schulze made this music. It requires concentration. It has a hallmark of a continuous stream of sound which varies slightly by degrees and altering the rhythm accordingly. The presence of contributing players fleshes out the material much as Tangerine Dream did. Some critics say Audentity is an interesting and engrossing work. I found it hard to listen to.
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on June 18, 2000
A double album from early eighties. Not for everyone, but those who are familiar with Schulze and abstract/electronic music will appreciate this recording.
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on April 12, 2000
Just as 1978's "X", "Audentity" tries to depict and pursue the life of a person. But it seems to me as if Sebastian, the main character here, led a rather confused and uneven life. Not even Wolfgang Tiepold's cello adds some color to the static, ponderous rhythms and the meandering noodlings. Even worse, this album has too few melodies and intriguing ideas for its 96-minute length, and mostly Schulze seems content with sound effects and fragments over stiff machine beats. "Cellistica" has quite some interesting moments, and "Amourage" is one of the album's few melodious parts, a very beautiful and ethereal track. Disc 2 is chaotically arranged and almost unlistenable, there's a serious lack of recognizable tunes and textures. "Sebastian im Traum" alternates between droning nightmares, dissonant free-form cello parts, and some crystalline synth sounds. Compared with well-flowing and consistent albums like Tangerine Dream's "Ricochet" and "Tangram", "Audentity" is not more than a jumble of various elements from chamber music to progressive synth pop. Even after several listenings, this album doesn't get better than 2 stars.
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on September 21, 2003
Klaus's mid period was hurt by his over use of digital beat. Mostly simple thud thud thud beats. On this his third album into digital territory he really should have released a single disc as half of it offers us nothing new just bland thud thud oooo- thud etc.. However for the brave he dropped the beat box for two excellent classical inspired tracks. On disc one, Amourage 10:37 min and on disc two Sebastian im traum at 28:21 min. If you can wade through the sometimes painful {stuff} around them they are worth owning.
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on January 8, 2010
I bought this title in the 1990's.
I asked the owner of the store about it; he said it was 'melodic'.
I believe he mistakenly thought it was the "Live" album,
because the two titles have such similar cover designs.

"Audentity" is a huge mess of uninteresting, worthless, flat-out garbage.
I have (most happily!) not heard it in years, but I remember a lot of crap
such as the sounds of doors closing, things falling on a floor, and various
other sound effects that serve no purpose without images to accompany them.
Don't waste your time or money on it --- unless you'd like to buy the one I have.
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