Conrad Schnitzler, early member of both Tangerine Dream and Kluster, must have found both of those oppressive bands too formulaic and stifling. By 1975, he had struck out on his own, producing music for films that had yet to be released or even made.
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Continue reading Conrad Schnitzler – Filmmusik 2 […]
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.
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Continue reading Conrad Schnitzler and Schneider TM – Con-struct […]
This is part of a continuing series of works that delve in the Conrad Schnitzler sound archive to generate newly inspired works. As the label stresses, this series isn’t intended to be homage or to be taken as a plain remix project, but more as an active experiment in creativity itself.
Con-struct starts sedately enough in a drift of aerosol(ed) bleeds over a plasticity of hiccups and gaseous exchanges in Vangelis-like yawns in a streamer-filled horizon. An opener that leaves you head scratching as the next taster “228-1” (all the tracks have archive catalogue numbers) holds an altogether precarious stability. This is more like it — a dub cage erosive full of tactile scatterings, ruffled aluminium and croaking vocal
Continue reading Conrad Schnitzler and Pyrolator – Con-struct […]
When most people were glam(ming) it up in the mid seventies Mr. Conrad was studio tinkering with possible futures. Messing with the building blocks of rhythm, harmony and melody to bleed a snakey elixir that formed this sixty minute noir-riddled masterwork, suitably blighted in whir kittens and sci-fi weevils. The tracks, frustratingly untitled (as they are on Gold), ooze with encroaching darkness fish and elasticated light. Circuitry floating buoyant bayonets of percussion and cog-scarred arabesques, later telepathically implanted into Aphex Twin‘s skull, seeding comparison, evolution, gloop-swooping suspensions feeding the circle game for generations to come.
Conrad Schnitzler – Silber/Gold […]
Conrad Schnitzler’s late ’70s and early ’80s period is difficult to pigeonhole within his larger body of work. By this point he had moved on from the early expansive drone pieces that featured on his first three releases and begun to amalgamate rhythmic patterns along side more condensed song structures. His Peter Baumann-produced 1978 album Con touched upon pop signatures but also allowed typical Schnitzler areas of experimentation. This was not altogether successful and these blending of sonic motifs would come together in a substantial ‘art rock’ vein within Consequenz, but would also borrow elements of the earlier ‘Krautrock’ period.
A warbling VCS3 introduces “Fata Morgana” which leads into a steady motorik drum pattern that is played over with simplistic synth lines. It has a
Continue reading Conrad Schnitzler – Consequenz/Con 3 […]
Those good people over at Bureau B have been delving into the archives to bring us two classic slices of pre-Cluster goodness. Well before ‘71 and Zuckerzeit, these two albums, originally released in micro editions of 300 copies, demonstrate an avant-garde spirit that was and still is, a pleasure to absorb. Very much a ‘kicking k’ before the soothing ‘c’, these recordings still rival many of today’s newcomers with their pantheon of noise toys and effects pedals. A unique vision that’s not dissipated at all in over forty years.
The beautifully bleak innards of a piano start the first Kluster offering Klopfzeichen. That black cover fitting well with the repeating bony timbres… glassy obsidian and soft powdery concussions flung round them.
Continue reading Kluster – Klopfzeichen/Zwei Osterei […]
It can’t be a mistake that Red = Rot since this is electronic music rotted one note at a time. As a debut solo album – its actually more complicated than that – it’s a singular attempt to define a new genre of bubbling, messy, electronic music… Rot is propulsive/compulsive; as dark and shiny as a Scribing Mirror. You can hear the tangles that Conrad Schnitzler gets in and he leaves them there, testing the boundaries, daring the listener to accept these notches and whirls as actual music…
Today, I’m sure it makes way more sense than it did when it was originally released. I’d imagine this came of a sudden shock to the floppy haired 70s and it’s clearly
Continue reading Conrad Schnitzler – Rot/Blau […]
You know the quote, Arthur C. Clarke’s finest: “Any sufficiently advanced technology is indistinguishable from magic.” You can only imagine how mind-blown people must have been when Conrad Schnitzler cranked up his machines way back in the early 70s but his influence has been written out of the major theses on the development of electronic music, perhaps because of his affiliation with the hair-synth of Tangerine Dream, perhaps because he slipped away from them just before they really hit the big time. He was also a founding member of Kluster, of course, before jumping ship just before everyone started pretending they’d liked them all along too. His influence continues, though and it’s entirely fitting that these two records are released at the same time, on the same label.
These two records, both released on vinyl thicker than your arm (the Schnitzler
Continue reading Conrad Schnitzler – Live ’72/Ekoplekz – Live @ Dubloaded […]