Time & Perspective Quote by Klaus Schulze

Schulze is doing two things at once here: placing himself inside a moment and yanking himself out of it. He nods to rock as the ambient weather of the era, then immediately draws a hard border: you can "easily hear" the difference. That little dare is crucial. He is not asking for credit on faith or myth; he is pointing to the recordings as evidence, framing innovation as audible, not theoretical.

The subtext is a refusal of genre as a leash. In the early 1970s, "rock music" was both a market category and a cultural identity kit. Schulze admits he listened, but he won't let listening be mistaken for belonging. His phrasing ("nothing to do with") reads like a preemptive strike against lazy lineage-making: no, you can't simply file this under prog, psychedelia, or whatever story the industry needs to sell "German rock" abroad.

Then comes the self-portrait he wants to be remembered by: not a stylist, but a process. "Experimenting" and "searching" are modest words, yet they carry a manifesto. They frame his work as research, not rebellion; curiosity, not pose. In the context of postwar Germany's cultural reset and the rise of synthesizers as both instrument and ideology, that matters. The new sound isn't just novelty. It's an attempt to build an identity that doesn't default to Anglo-American templates, replacing the verse-chorus economy with long-form drift, timbre, and space. Schulze is arguing that the point was never to join rock's conversation; it was to invent a different language entirely.