Timewind

An ancestor here and not a rave record, and as sustained sequencer music close to definitive. Two side-long pieces and no drums are enough for Klaus Schulze on Timewind. The sequencers do not push toward a climax; they alter the sense of duration until small harmonic changes feel enormous. What later trance took from this record was not a formula so much as faith in repetition.

Two sides, two pieces, and almost nothing that could be called an event in either. Schulze treats the sequencer as weather and the listener as someone with time, and Bayreuth Return is the purest thing the Berlin school produced.