This is the second instalment of Bureau B‘s Con-struct series, with Schneider TM taking up the posthumous reins, grappling with Schnitzler‘s daunting archive. In direct contrast to Pyrolator‘s take on the subject (a few years back), this dwells on the more investigate side of Mr Conrad‘s oeuvre, something Mr Dresselhaus gets down’n’dirty with, eking out a host of abstract vitality, wrestling with sonic life-forms that defy your dance floor dexterities.The sounds here pulsate, bristle with (im)possibility, opening with “Doozer”‘s comedic mis-shapes aggressively foxholing your noggin in tight-fitting squelch, trussed up surreality and frequency-shifting garg(oy)les that fly out on mathematical mischief. It’s an arresting start which the reverbed soaked concussion of “Dabbs” overtakes in vivid splinters and slo-mo diffusions. Dirk even cobbled together the musical mechanics to enable this musical conversation to be as two-way as possible – firing random inputs, mixing the outcomes live, as if he were actually collaborating with the granddaddy of electronica himself; and maybe he was, the results certainly seem a strangely two-sided affair. A precarious magic, synergy syringing the brittle, the patter-keyed lunars dangling carrots to wheezy whirls and Aphex shadows. The ominous churn of dark matter that is “Wie Geht Die” tugging at the fabric, peeling the veneer back to reveal a 24-minute opus (“Wurmloch”) that ends this disc.
Schneider TM’s Con-struct is a masterful polyharmonic fold of creator and creative lost in drifting symbiosis. A drone savannah of flux coaxed curl and corrupted murmur that sounds very séance-like indeed.