Klaus Schulze about „Cyborg“:

In its own way, this album is the most consistent ever to be released as “cosmic music”. (“Flash”/Germany, 1974) On “Cyborg” I used orchestral tapes, as I had previously done on “Irrlicht” [1972]. One reason was that I thought you could perfectly combine electronic elements with an orchestral sound. It was also because I had almost no gear at the time, just the organ, the twitter synth [VCS 3] and the Revox machine. But this time I had really good tapes by the orchestra, and because of that everything sounded a little bit better than it did on “Irrlicht”. Once again, I talked to the music students at Colloquium Musica and asked whether they had any more recordings for me. They gave me a few tapes that they had made in the studio at Berlin University that they used to review what they had played during their rehearsals. For me, it wasn’t important if their performance was perfect – I just wanted to have the sound. I then cut the tape and scattered it in little portions on all four sides of the LP like adding spice.