Spread across two discs, we thus have six tracks of mainly synth/electronics and percussion, with a couple of piano-led pieces. The sound quality isn’t pristine, but that adds to the affair; the often rapturous audience response also adds a interesting angle, since its so tempting to see this kind of music as a clinical, studio-based venture. The pieces, as a rule, unfold slowly without any sense of hurry whatsoever; even on a track like “Drums”, the bouncing tempo still seems to meander. The exceptions to this are the two piano tracks, “Piano” and “Ausgang”, which both appear to be composed pieces; the pace is still slow and unforced, but there’s more of a sense of logic and definite direction. These piano-dominated tracks are somewhat unadventurous, especially in the context of the greater album, and do very little for my ears. They’re very conservative in colour, and don’t reach any great heights of beauty or melodic interest; even the subdued accompaniment by drums and phased cymbals on “Ausgang” raises little joy. Another track which rather outstays its welcome is “Drums”, which is pretty much fourteen minutes of…drums. The minimal synth playing is mixed too low to make much of an impact, and the track really does just amount to some very leaden and clunky drumming. (Saying this, there is a nice rasping chainsaw tone from a synth about halfway through; as well as a very brief passage which prophesizes mid-90s hard trance.)

The saving grace of “Live In Vienna 1980” are the two longest tracks, “Service” and “Metalle”. With both tracks stretching over twenty-five minutes, here Cluster (joined by Joshi Farnbauer on the album) finally create an arresting space and environment; utilising a slow-burning pace, dominated by queasy synths and primitive electronics. The darkness and restraint of “Service” took me by surprise; it’s bleak, almost barren. I might even go as far as to say that it could be a distant cousin of Throbbing Gristle. It has an incredibly patient, austere sound; with chiming percussion lending even more mystery to the raw electronic drones and swoops. I can’t stress enough how dark the track is; often the German electronic groups associated with Cluster, are spoken of in terms of “space" (Kosmische Musik) - but “Service” isn’t so much a journey to the stars, as abandonment to the void. “Metalle” reaches similar depths, but has a much more agitated sound; with nervous synths and lots of gongs and metallic percussion. There’s a constant tension, which finally dissipates in the last minutes.

In simple terms, “Live In Vienna 1980” explores two sides of one coin incredibly well; to the positive, one side of that coin is labelled “space, tension” - alas, the other side is labelled “boredom, dreariness”. But that positive side is a very enthralling listen indeed. It also points, with laser precision I feel, to the work of the magnificent Omit, over ten years later.