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Artist: SCHNITZLER, CONRAD
Title: Blau
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"On the Red Album Rot, Conrad Schnitzler laid down the direction his musical artistry would take. His second solo , The Blue Album Blau, originally released in 1974, offered confirmation of his intent. Maybe the "Red" and "Blue" tracks were recorded in the same session. The structure, sound and timbre of both LPs are so similar as to suggest that this was the case (an unverified assumption nevertheless!). Far more important than this historical pedantry is the fact that Schnitzler included two brand-new compositions on Blau which followed on seamlessly from the previous album. Quite simply, he had found his way, a course from which he would not stray as long as he lived. The so-called Berlin School (Berliner Schule) -- with Conrad Schnitzler one of their number -- had developed its own style of minimalist music. Clearly distinct from Anglo-American pop music, and no less removed from the minimalist art music of Steve Reich or Philip Glass, the focus here was on electronics and elementary rhythmics. The Berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. With the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. Blau is an archetypal example of this very phenomenon. Courage, the pioneering spirit and artistic brilliance can be detected in each part of the albums two infinite sequences. Inspired by Joseph Beuys, Schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. Questions of harmony, melody and strict form were well and truly rejected by Schnitzler. His aural crystals shine like pearls on a string. Schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity. Schnitzlers style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times. Includes a printed innersleeve with notes from Asmus Tietchens. 180 gram vinyl." -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Blau
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"On the Red Album Rot, Conrad Schnitzler laid down the direction his musical artistry would take. His second solo , The Blue Album Blau, originally released in 1974, offered confirmation of his intent. Maybe the "Red" and "Blue" tracks were recorded in the same session. The structure, sound and timbre of both LPs are so similar as to suggest that this was the case (an unverified assumption nevertheless!). Far more important than this historical pedantry is the fact that Schnitzler included two brand-new compositions on Blau which followed on seamlessly from the previous album. Quite simply, he had found his way, a course from which he would not stray as long as he lived. The so-called Berlin School (Berliner Schule) -- with Conrad Schnitzler one of their number -- had developed its own style of minimalist music. Clearly distinct from Anglo-American pop music, and no less removed from the minimalist art music of Steve Reich or Philip Glass, the focus here was on electronics and elementary rhythmics. The Berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. With the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. Blau is an archetypal example of this very phenomenon. Courage, the pioneering spirit and artistic brilliance can be detected in each part of the albums two infinite sequences. Inspired by Joseph Beuys, Schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. Questions of harmony, melody and strict form were well and truly rejected by Schnitzler. His aural crystals shine like pearls on a string. Schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity. Schnitzlers style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times. Digipak reissue with liner notes by Asmus Tietchens, rare photos and six bonus tracks." -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Con 3
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. This album saw Conrad Schnitzler head further in the direction of pop music. Like Consequenz, Con 3 (1981) is a collaborative effort with Wolfgang Seidel, alias Sequenza. Con 3 is a really odd mixture of numerous ingredients which Schnitzler was capable of combining with dexterity and taste. His musical handwriting is immediately apparent in the foreground. Effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever -- this is Schnitzler alright, this is his musical utopia. Then Wolfgang Seidel, formerly drummer with Ton Steine Scherben: an ideal partner for Schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. Another ingredient in Con 3 is undoubtedly German new wave (Neue Deutsche Welle, NDW). How could it not have touched Schnitzler? He lived and worked in Berlin! Above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of NDW. In this respect, Schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. The fourth component of Con 3 is without question the character in the background, Peter Baumann. As producer and sound engineer, he was to Schnitzler what Conny Plank had been for Cluster and Harmonia and many others. His gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his Paragon Studio. Years of working with Tangerine Dream honed his studio experience and his intuitive flair for electronic experiments. Those like Schnitzler who were able to work in the Paragon Studio were in exceptionally good hands. There could hardly be a more fertile alliance. Con 3 might have sounded rather disconcerting to Schnitzler listeners at the time. He had long since nailed his colors to the mast of the art scene (Fluxus, Beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. Not for the first time, perhaps, but particularly emphatically on this album. Many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. Not Schnitzler. He remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music." -Asmus Tietchens. Includes a printed innersleeve with notes from Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Con 3
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"This album saw Conrad Schnitzler head further in the direction of pop music. Like Consequenz, Con 3 (1981) is a collaborative effort with Wolfgang Seidel, alias Sequenza. Con 3 is a really odd mixture of numerous ingredients which Schnitzler was capable of combining with dexterity and taste. His musical handwriting is immediately apparent in the foreground. Effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever -- this is Schnitzler alright, this is his musical utopia. Then Wolfgang Seidel, formerly drummer with Ton Steine Scherben: an ideal partner for Schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. Another ingredient in Con 3 is undoubtedly German new wave (Neue Deutsche Welle, NDW). How could it not have touched Schnitzler? He lived and worked in Berlin! Above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of NDW. In this respect, Schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. The fourth component of Con 3 is without question the character in the background, Peter Baumann. As producer and sound engineer, he was to Schnitzler what Conny Plank had been for Cluster and Harmonia and many others. His gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his Paragon Studio. Years of working with Tangerine Dream honed his studio experience and his intuitive flair for electronic experiments. Those like Schnitzler who were able to work in the Paragon Studio were in exceptionally good hands. There could hardly be a more fertile alliance. Con 3 might have sounded rather disconcerting to Schnitzler listeners at the time. He had long since nailed his colors to the mast of the art scene (Fluxus, Beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. Not for the first time, perhaps, but particularly emphatically on this album. Many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. Not Schnitzler. He remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music." - Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Congratulacion
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
LP version on 180 gram vinyl. "Conrad Schnitzler is as unpredictable as he is true to himself. If this sounds paradoxical, he reconfirmed the assertion in 1987 with an album which posed many questions and offered few answers -- his music more extraordinary than ever. The indefatigable Schnitzler still leaves anyone listening to Congratulacion today rather baffled. Those well-acquainted with his music might search in vain for familiar landmarks. Instead, new and unexpected features can be heard, unlike anything in Schnitzlers previous works. The reason for the albums uniqueness lies in the technical advancements of electronic music-making. Schnitzler never shied away from any kind of innovation. On Gold (BB 150CD/LP) and Silver (BB 149CD/LP) he had masterfully deployed a new Palm synthesizer. Congratulacion saw Schnitzler introduce the Yamaha CX 5, a combination of digital and analog sound generation, lending the album its distinctive quality. This machine enabled him to program the most complex of rhythms and strange harmonies and, if necessary, completely unforeseen melodies. 21.8.86 (track 8), for example, could easily have been composed by his old Kluster colleague Hans-Joachim Roedelius. This must have given him, this oh-so rigorous concept artist, no end of pleasure. Why else would he have composed 22 short pieces with the aid of the CX 5 instead of fewer, lengthier tracks?" --Asmus Tietchens; Features six bonus tracks and an essay by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Conrad & Sohn
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. "Conrad Schnitzler is undoubtedly one of the founding fathers of German electronica. And his son, Gregor Schnitzler, matched the fathers extraordinary level of creative output. They appear to have settled any musical differences amicably. After all, how else could they have shared an LP released by Conrad Schnitzler himself? One half of Conrad & Sohn features music by Conrad Schnitzler, the other, his son Gregor. Two mini-albums on one disc, so to speak. An ideal opportunity to compare them. Judging by the similarities in sound, Gregor clearly had access to his fathers music equipment, but the way he uses electronics and his voice could not be more different. Industrial (e.g. Cabaret Voltaire) influences are apparent. The dry minimalism of German new wave (NDW) also left its mark on him. A sense of the end of days in some places gives way to highly-charged hysteria in others. For young, modern musicians in the frontline city of West Berlin, a mix of depression and anger was the natural prerequisite for their uncomplicated, unsentimental and yet emotional music. And the "No Future" claim had not yet lost its validity. Gregor unequivocally took sides; he was with the young. Conrads music on this album also shows some signs of contemporary influence. As a veteran of the avant-garde and an experienced performance artist, he adopted a different aesthetic stance to that of his son, Gregor. Leaving the bleak, cryptic text of the first track aside, Conrad speaks to the knowledgeable listener in a familiar musical language: sequencer shapes with no end and no beginning, then an uncommonly humorous miniature with a Donald Duck voice, followed by electronic particles travelling from anywhere to who-knows-where. Total abstraction. Father and son certainly offer up drastically opposing musical concepts to our ears." -Asmus Tietchens

Artist: SCHNITZLER, CONRAD
Title: Conrad & Sohn
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Conrad Schnitzler is undoubtedly one of the founding fathers of German electronica. And his son, Gregor Schnitzler, matched the fathers extraordinary level of creative output. They appear to have settled any musical differences amicably. After all, how else could they have shared an LP released by Conrad Schnitzler himself? One half of Conrad & Sohn features music by Conrad Schnitzler, the other, his son Gregor. Two mini-albums on one disc, so to speak. An ideal opportunity to compare them. Judging by the similarities in sound, Gregor clearly had access to his fathers music equipment, but the way he uses electronics and his voice could not be more different. Industrial (e.g. Cabaret Voltaire) influences are apparent. The dry minimalism of German new wave (NDW) also left its mark on him. A sense of the end of days in some places gives way to highly-charged hysteria in others. For young, modern musicians in the frontline city of West Berlin, a mix of depression and anger was the natural prerequisite for their uncomplicated, unsentimental and yet emotional music. And the "No Future" claim had not yet lost its validity. Gregor unequivocally took sides; he was with the young. Conrads music on this album also shows some signs of contemporary influence. As a veteran of the avant-garde and an experienced performance artist, he adopted a different aesthetic stance to that of his son, Gregor. Leaving the bleak, cryptic text of the first track aside, Conrad speaks to the knowledgeable listener in a familiar musical language: sequencer shapes with no end and no beginning, then an uncommonly humorous miniature with a Donald Duck voice, followed by electronic particles travelling from anywhere to who-knows-where. Total abstraction. Father and son certainly offer up drastically opposing musical concepts to our ears." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Consequenz
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Commercial Schnitzler? How quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. Conrad Schnitzler fell under such a cloud when, after 1978, his songs, for a time at least, did not exceed the catchy compactness of pop songs, while their harmonies and rhythms seemed to be drifting towards pop. Produced by Peter Baumann (Tangerine Dream) the Con (1978) album and the Auf dem schwarzen Kanal 12" EP (1980) ushered in this phase, and the private release of the Consequenz album, also in 1980 -- as the title suggests -- was the logical consequence. Consequenz is Schnitzlers first collaboration with another musician since the days of Kluster long before. In Wolfgang Seidel aka Wolf Sequenza, he found someone who not only understood the Schnitzler principle but was able to expand on it with his own input. Seidel, like Schnitzler, had started early with the development of an alternative language of music, away from the mainstream. Schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with Consequenz, illustrating in detail how his music functions, which instruments and equipment he used and how the various elements are interconnected. It is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. Consequenz conveys 12 remarkably short pieces. Remarkable in the sense that Schnitzlers early solo works (e.g. Rot and Blau) were characterized by unending sequences. Not only are the tracks even shorter than on Con (1978), their form has also shifted. Electronic drums can be heard, along with an electric guitar in places; Schnitzler and Seidel sculpt rhythmic-harmonic structures with an analog sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. Little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. The influence of the German new wave (NDW) may also be detected, but not enough to determine the style of Consequenz. The dozen tracks on the album remain firmly rooted in Schnitzlers sonic universe, each an individual facet of his infinitely shimmering aural cascades. And, naturally, Consequenz is electronic pop music, lacking only the commercial added value which was of little interest to Schnitzler anyway -- he didnt give a damn." -Asmus Tietchens

Artist: SCHNITZLER, CONRAD
Title: Consequenz
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. Commercial Schnitzler? How quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. Conrad Schnitzler fell under such a cloud when, after 1978, his songs, for a time at least, did not exceed the catchy compactness of pop songs, while their harmonies and rhythms seemed to be drifting towards pop. Produced by Peter Baumann (Tangerine Dream) the Con (1978) album and the Auf dem schwarzen Kanal 12" EP (1980) ushered in this phase, and the private release of the Consequenz album, also in 1980 -- as the title suggests -- was the logical consequence. Consequenz is Schnitzlers first collaboration with another musician since the days of Kluster long before. In Wolfgang Seidel aka Wolf Sequenza, he found someone who not only understood the Schnitzler principle but was able to expand on it with his own input. Seidel, like Schnitzler, had started early with the development of an alternative language of music, away from the mainstream. Schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with Consequenz, illustrating in detail how his music functions, which instruments and equipment he used and how the various elements are interconnected. It is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. Consequenz conveys 12 remarkably short pieces. Remarkable in the sense that Schnitzlers early solo works (e.g. Rot and Blau) were characterized by unending sequences. Not only are the tracks even shorter than on Con (1978), their form has also shifted. Electronic drums can be heard, along with an electric guitar in places; Schnitzler and Seidel sculpt rhythmic-harmonic structures with an analog sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. Little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. The influence of the German new wave (NDW) may also be detected, but not enough to determine the style of Consequenz. The dozen tracks on the album remain firmly rooted in Schnitzlers sonic universe, each an individual facet of his infinitely shimmering aural cascades. And, naturally, Consequenz is electronic pop music, lacking only the commercial added value which was of little interest to Schnitzler anyway -- he didnt give a damn." -Asmus Tietchens. Includes a printed innersleeve with notes from Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Contempora
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Contempora (1981) is a sort of collection of sketches, reflecting Conrad Schnitzlers inexhaustible creative powers in condensed form. Like light refracting through a multiple prism, shapes and colors constantly change, backgrounds shift through brightness and darkness. Each track on the album could easily double or triple in length without relinquishing any of its magic or indeed becoming boring. Schnitzler grants us the merest glimpses into his diverse soundscapes and sonic armories. He opens one door ever so slightly, only to close it again and open another for just a few minutes. Improvised sonic comets shimmer over Schnitzlers inimitable sequencer patterns, fleeting melodies fade away. Everything happens at breathtaking speed, miniatures without frames or tangible borders. In the early 80s Schnitzler worked primarily with the EMS Synthi A and Korg MS 10 synthesizers, an analog sequencer and analog rhythm machine. All in all, this was neither a particularly complex nor exotic array of equipment for the period. Many electronic artists used these inexpensive instruments, or something similar. Nevertheless, Schnitzler succeeded in setting himself apart from others in the fraternity, in both sonic and compositional terms. Not so much gripped by the need to occupy a unique position, he was simply unable and unwilling to divert from his creative path. Contempora again underlines Schnitzlers noble ethos." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Contempora
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. "Contempora (1981) is a sort of collection of sketches, reflecting Conrad Schnitzlers inexhaustible creative powers in condensed form. Like light refracting through a multiple prism, shapes and colors constantly change, backgrounds shift through brightness and darkness. Each track on the album could easily double or triple in length without relinquishing any of its magic or indeed becoming boring. Schnitzler grants us the merest glimpses into his diverse soundscapes and sonic armories. He opens one door ever so slightly, only to close it again and open another for just a few minutes. Improvised sonic comets shimmer over Schnitzlers inimitable sequencer patterns, fleeting melodies fade away. Everything happens at breathtaking speed, miniatures without frames or tangible borders. In the early 80s Schnitzler worked primarily with the EMS Synthi A and Korg MS 10 synthesizers, an analog sequencer and analog rhythm machine. All in all, this was neither a particularly complex nor exotic array of equipment for the period. Many electronic artists used these inexpensive instruments, or something similar. Nevertheless, Schnitzler succeeded in setting himself apart from others in the fraternity, in both sonic and compositional terms. Not so much gripped by the need to occupy a unique position, he was simply unable and unwilling to divert from his creative path. Contempora again underlines Schnitzlers noble ethos." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Filmmusik 1
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Bureau B present Filmmusik 1, a selection from Conrad Schnitzlers archive. In Conrad Schnitzlers sprawling archive, there are two tapes marked Filmmusik 1975 A and Filmmusik 1980 B. It is hard to say which videos this music belongs to, particularly as the pieces have been left untitled. Perhaps there isnt really any film material at all. The dates are of no great help either, since the tapes feature the same tracks, albeit in varying degrees of quality. Filmmusik 1 presents an initial selection of these finds, presented to Bureau B by Schnitzlers musical partner for many years and guardian of the archive, Wolfgang Seidel(Populäre Mechanik, Ton Steine Scherben). The tracks reveal much about how Schnitzler worked. He recorded individual tracks on cassettes and then combined them, also using them live in his so-called cassette concerts. Thus, there are recognizable recurring "melodies", sometimes fragmented, in different places. Some tracks have the same bass loop and rhythm, only the sounds and effects have changed. The music on theFilmmusik tapes is extraordinarily accessible for Schnitzler: hypnotic bass lines, stoic drum rhythms, dark drones, crystalline shards of melody. Wolfgang Seidel talks more about Schnitzlers life and work in the liner notes.” - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Filmmusik 1
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
“Bureau B present Filmmusik 1, a selection from Conrad Schnitzlers archive. In Conrad Schnitzlers sprawling archive, there are two tapes marked Filmmusik 1975 A and Filmmusik 1980 B. It is hard to say which videos this music belongs to, particularly as the pieces have been left untitled. Perhaps there isnt really any film material at all. The dates are of no great help either, since the tapes feature the same tracks, albeit in varying degrees of quality. Filmmusik 1 presents an initial selection of these finds, presented to Bureau B by Schnitzlers musical partner for many years and guardian of the archive, Wolfgang Seidel (Populäre Mechanik, Ton Steine Scherben). The tracks reveal much about how Schnitzler worked. He recorded individual tracks on cassettes and then combined them, also using them live in his so-called cassette concerts. Thus, there are recognizable recurring "melodies", sometimes fragmented, in different places. Some tracks have the same bass loop and rhythm, only the sounds and effects have changed. The music on the Filmmusik tapes is extraordinarily accessible for Schnitzler: hypnotic bass lines, stoic drum rhythms, dark drones, crystalline shards of melody. Wolfgang Seidel talks more about Schnitzlers life and work in the liner notes.” - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Filmmusik 2
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present part two of their Filmmusik double release. In 1975, Conrad Schnitzler recorded various pieces of music to accompany films which had yet to be made. Fittingly, he labelled this collection of songs Filmmusik. Only one of the tracks - "Gute Fahrt" ("Nice Journey") - would ultimately be paired with a film, now traceable on the internet for all to see. The music is included on Part 1 of Bureau Bs Filmmusik double release (BB 244CD/LP, 2016), erroneously entitled "02/1980". Why the incorrect title? The tapes, which served as source material for the labels two Filmmusik releases, were copied onto two data carriers then mislabeled. To be precise, one label was accurate - Filmmusik 1975 A - but the other, Filmmusik 1980 B, was not. All the tracks had been created in the same year, so it should have read "1975 B". In the absence of actual song titles, Bureau B simply gave them numbers. Not knowing of the above mentioned film at the time, the label called the track "02/1980", when they should have called it "02/1975 B" or, as they would later discover, "Gute Fahrt". Shortly after, Bureau B released Filmmusik 1 and Jin Kawai, curator of the official Schnitzler website, contacted the label with the information. In 2009, whilst sorting through reels of film (some shot by Schnitzler himself) and music to upload to the site, Kawai was particularly drawn to one piece entitled "Gute Fahrt". Were there any more tracks like this? Schnitzler told him there were and sent Kawai all of the other recordings. One half of Filmmusik 2 comprises tracks from the 1975 series, the other half is a 23-minute piece with the title "Lichtpunkte und schwarze Zeichen". This music was actually written for a film in 1978. The label was delighted to find it in 2015 and enthusiastically searched the Schnitzler archives for more of the same. This led the Bureau B to the 1975 recordings and the rest is history." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Gelb
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Conrad Schnitzlers yellow album (aka Gelb), originally released in 1981 on Edition Block. "The chronology of Schnitzlers solo releases in the 1970s -- and even more so in the 80s -- resembles a book with seven seals. Schnitzler regularly issued his music on analogue cassette or LP, often on his own as private releases, without any help from a label or professional distributor. The yellow album, for example, was issued on vinyl in 1981 by René Block in Berlin on his art gallery label (Edition Block). Schnitzler had previously released records on various other labels. The music on the yellow album had, in fact, already been on the market as The Black Cassette in 1974, although the production run was probably limited. The yellow album is subtitled 12 pieces from the year 1974, pointing to Schnitzlers novel approach. Whereas his prior works always lasted for the whole side of an LP or tape, the tracks here are shorter. Also new: Schnitzler goes beyond automatic sonic processes on a number of tracks, using his keyboards to integrate something approaching melodic improvisations played by hand into his musical cosmos. Schnitzlers otherwise crystalline, inorganic world of art is thus enriched by an almost human, organic element. An amiable breeze wafts through the music of the yellow album, thankfully miles away from the sentimental platitudes which run through off-the-shelf ambient music of the 1980s. The yellow album is not only amiable from start to finish, it also documents an important stage in Schnitzlers musical development. Belatedly released on LP (1981) and lacking in discographical detail, this aspect is easily overlooked. On careful listening, as Schnitzler connoisseurs will also realize instantly, this album reveals itself to be an important milestone, illuminating a clear path into the future. Schnitzler had begun to free himself from the constraints of orthodox conceptual art, advancing into the wide open spaces of uncharted musical territory." - Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Gelb
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Conrad Schnitzlers yellow album (aka Gelb), originally released in 1981 on Edition Block. "The chronology of Schnitzlers solo releases in the 1970s -- and even more so in the 80s -- resembles a book with seven seals. Schnitzler regularly issued his music on analogue cassette or LP, often on his own as private releases, without any help from a label or professional distributor. The yellow album, for example, was issued on vinyl in 1981 by René Block in Berlin on his art gallery label (Edition Block). Schnitzler had previously released records on various other labels. The music on the yellow album had, in fact, already been on the market as The Black Cassette in 1974, although the production run was probably limited. The yellow album is subtitled 12 pieces from the year 1974, pointing to Schnitzlers novel approach. Whereas his prior works always lasted for the whole side of an LP or tape, the tracks here are shorter. Also new: Schnitzler goes beyond automatic sonic processes on a number of tracks, using his keyboards to integrate something approaching melodic improvisations played by hand into his musical cosmos. Schnitzlers otherwise crystalline, inorganic world of art is thus enriched by an almost human, organic element. An amiable breeze wafts through the music of the yellow album, thankfully miles away from the sentimental platitudes which run through off-the-shelf ambient music of the 1980s. The yellow album is not only amiable from start to finish, it also documents an important stage in Schnitzlers musical development. Belatedly released on LP (1981) and lacking in discographical detail, this aspect is easily overlooked. On careful listening, as Schnitzler connoisseurs will also realize instantly, this album reveals itself to be an important milestone, illuminating a clear path into the future. Schnitzler had begun to free himself from the constraints of orthodox conceptual art, advancing into the wide open spaces of uncharted musical territory." --Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Gold
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Bureau B presents a song collection from Conrad Schnitzlers archive, recorded between 1976 and 1978, originally released by the small German label Marginal Talent in 2003. In the comprehensive canon of Schnitzler releases, the music on the Gold album stands out a mile in every respect. Judged on the sound alone, there is little to suggest that the material was recorded as long ago as the 1976 to 1978 period. There is more at play here than two tape recorders, analog synthesizers and sequencers. Digital keyboards and computer-aided musical progressions are in evidence. With its multi-channel complexity, perfect equalizing, a translucent depth of focus and the brilliance of its signals, Gold could easily have been recorded today, some 35 years later. Alas, Schnitzler can no longer let us in on the secret of his recording process, nor which equipment he deployed in achieving this feat. It is fair to surmise that this sound owed much to the fact that Schnitzler was often in the company of his friends from Tangerine Dream. Their equipment was always state-of-the-art -- and Schnitzlers technical expertise allowed him to take full advantage thereof. As if the tonal quality is not astounding enough, the compositions are guaranteed to dumbfound even the most enlightened Schnitzler listeners. Stuctured like a symphony in various movements, utterly abstract atonal passages are followed by solid sequences of rhythm and harmony, as energetic as Cluster, yet equally evocative of 1980s electronic pop music. Once again, his execution bordering on perfection, Schnitzler has pulled off the ultimate balancing trick between pop and so-called serious music. Liner notes by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Gold
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B presents a song collection from Conrad Schnitzlers archive, recorded between 1976 and 1978, originally released by the small German label Marginal Talent in 2003. In the comprehensive canon of Schnitzler releases, the music on the Gold album stands out a mile in every respect. Judged on the sound alone, there is little to suggest that the material was recorded as long ago as the 1976 to 1978 period. There is more at play here than two tape recorders, analog synthesizers and sequencers. Digital keyboards and computer-aided musical progressions are in evidence. With its multi-channel complexity, perfect equalizing, a translucent depth of focus and the brilliance of its signals, Gold could easily have been recorded today, some 35 years later. Alas, Schnitzler can no longer let us in on the secret of his recording process, nor which equipment he deployed in achieving this feat. It is fair to surmise that this sound owed much to the fact that Schnitzler was often in the company of his friends from Tangerine Dream. Their equipment was always state-of-the-art -- and Schnitzlers technical expertise allowed him to take full advantage thereof. As if the tonal quality is not astounding enough, the compositions are guaranteed to dumbfound even the most enlightened Schnitzler listeners. Stuctured like a symphony in various movements, utterly abstract atonal passages are followed by solid sequences of rhythm and harmony, as energetic as Cluster, yet equally evocative of 1980s electronic pop music. Once again, his execution bordering on perfection, Schnitzler has pulled off the ultimate balancing trick between pop and so-called serious music. Liner notes by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Grün
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Conrad Schnitzlers green album (aka Grün), originally released in 1981 on Edition Block. "Schnitzlers tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analog rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of Der Riese und seine Frau (The Giant and His Wife), bearing little resemblance to Schnitzlers usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but Bis die Blaue Blume blüht (Until the Blue Flower Blooms) transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colors of the spectrum. The composition is carried and held together by a permanent sequencer figure, brilliantly enhancing the catchy tune. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumanns Paragon Studio, like the Con album. The similarities are impossible to ignore. It is a well documented fact that Peter Baumann often allowed Schnitzler to work in his studio during this period. On the LP version, Bis die Blaue Blume blüht can be played at 33 or 45 rpm, revealing a wholly different piece of music at the chosen speed. Both speeds are available as two tracks on the CD version. For a composer to come up with something like this by design speaks of great artistry -- or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options -- an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders. The borders between Schnitzlers creative periods are too nebulous to be sure that the green album represents the coda of his 70s music. Still, Schnitzlers musical essence of the decade is in evidence as aural concentrate on both pieces. Not, however, as a recapitulatory review, but as a foundation, fertile ground in which Schnitzlers art would thrive in the decades which followed." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Grün
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. Conrad Schnitzlers green album (aka Grün), originally released in 1981 on Edition Block. "Schnitzlers tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analog rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of Der Riese und seine Frau (The Giant and His Wife), bearing little resemblance to Schnitzlers usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but Bis die Blaue Blume blüht (Until the Blue Flower Blooms) transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colors of the spectrum. The composition is carried and held together by a permanent sequencer figure, brilliantly enhancing the catchy tune. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumanns Paragon Studio, like the Con album. The similarities are impossible to ignore. It is a well documented fact that Peter Baumann often allowed Schnitzler to work in his studio during this period. On the LP version, Bis die Blaue Blume blüht can be played at 33 or 45 rpm, revealing a wholly different piece of music at the chosen speed. Both speeds are available as two tracks on the CD version. For a composer to come up with something like this by design speaks of great artistry -- or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options -- an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders. The borders between Schnitzlers creative periods are too nebulous to be sure that the green album represents the coda of his 70s music. Still, Schnitzlers musical essence of the decade is in evidence as aural concentrate on both pieces. Not, however, as a recapitulatory review, but as a foundation, fertile ground in which Schnitzlers art would thrive in the decades which followed." --Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Kollektion 05: Conrad Schnitzler Compiled and Assembled by Thomas Fehlmann
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
“Things come full circle. In 1976 Thomas Fehlmann arrives in Hamburg to study art at the Hamburg University of Fine Arts. In 1979 he attends a guest lecture by Conrad Schnitzler, who demonstrates how the "extended definition of art" established by Joseph Beuys can be applied to music. This proves to be a crucial element in Fehlmanns decision to become a musician. And now, in 2015, over 35 years later, Fehlmann has compiled the fifth installment in Bureau Bs Kollektionseries, arranging, in uniquely harmonious fashion, 16 pieces from the early 1980s by the man who broadened his horizons, Conrad Schnitzler. The gateway to Schnitzlers sonic cosmos has been flung wide open. Conrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germanys electronic music avant-garde. A student of Joseph Beuys, he founded Berlins legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member ofTangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius), and released countless solo albums. Thomas Fehlmann rose to prominence in the seminal band Palais Schaumburg with Holger Hiller. Their debut album in 1981 was a milestone in German post-punk music. In 1988 Fehlmann founded the Teutonic Beats label and in 1990 he became a member of The Orb. He has played an important role in Berlins electronic and club scenes ever since, as a musician, producer, remixer, and DJ.” - Bureau B.

"I have strung together various pieces from Conrad Schnitzlers white period -- the CON series -- in a seamless arrangement which creates its own state of dramatic tension. The tracks retain their original form and tempo. This is not a study in montage. I have restricted myself to picking the right moment to move from one piece to the next, cross-fading. Okay, I did edit one track... I was looking for a form which would condense Conrad Schnitzlers versatility, his inventiveness and wit into a single journey. The new running order adds a certain friction to the aura of each as new connections are made. My choices were musical, not chronological, bathing these works from the early 1980s in new sensuous light. It is quite remarkable to see how intensely the sparks still fly. Preparing this collection closes an elementary circle in my life, without which I may have followed a completely different path." - Thomas Fehlmann.

Artist: SCHNITZLER, CONRAD
Title: Rot
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"There was a particular type of artist who could only have emerged in the legendary early 1970s. Few musicians fit the bill better than Conrad Schnitzler (Tangerine Dream, Kluster). Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were "subculture," "progressivity" and "avant-gardism." West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak Free Arts Lab was the ultimate point of convergence for subculture in West Berlin, with Conrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met up to perform in public. Bureau B presents Rot (The "Red" Album) from 1973, Schnitzlers first solo LP. Includes a printed innersleeve with notes from Asmus Tietchens. 180 gram vinyl." -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Rot
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"There was a particular type of artist who could only have emerged in the legendary early 1970s. Few musicians fit the bill better than Conrad Schnitzler (Tangerine Dream, Kluster). Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were "subculture," "progressivity" and "avant-gardism." West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak Free Arts Lab was the ultimate point of convergence for subculture in West Berlin, with Conrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met up to perform in public. Bureau B presents Rot (The "Red" Album) from 1973, Schnitzlers first solo LP. Digipak reissue with liner notes by Asmus Tietchens, rare photos and a 20-minute bonus track" -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Silber
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"A collection from Conrad Schnitzlers archive, recorded between 1974 and 1975, originally released on LP only in 2009. Contains the complete original material (three more tracks than the 2009 release) ... Just when you think you have grasped Conrad Schnitzlers master plan, every time you kid yourself into predicting what you are about to hear, the next record comes along to prove you wrong. Motorik is writ large throughout. Even the less rhythmic passages remain grounded, never drifting into absolute abstraction. A more or less distinct ostinato runs through each track, condensed into a complex tapestry of electronic surprises amidst Schnitzlers typical cascades of sound and flashes of noise. And so the journey to the most distant corner of Schnitzlers world begins. Majestic drones and tricky melodies fly past the listener. Is this still the music of Schnitzler, the conceptual artist? Yes, undoubtedly. His view or concept of art allowed him the freedom to experiment in all directions, a stroke of luck for the listener. The Silber (trans. Silver) album offers up a form of pop music preempting nothing, unrelated to anything else. Far more, it represents Schnitzlers unique and inimitable blueprint for a music of the future, music which still astounds when we hear it today, almost 40 years later -- and it poses the almost philosophical question, whether this future has already happened or is yet to happen? Schnitzler was not alone in daring to create future music in the 1970s; yet many visions of that era were short-lived and appear rather dusty today, even a little embarrassing. The "precious metal" albums, in contrast, escape the zeitgeist and are patently resistant to retromaniac constraints. Schnitzlers artistic and -- let us spell it out -- aesthetic autonomy celebrates a veritable victory here. Liner notes by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Silber
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"A collection from Conrad Schnitzlers archive, recorded between 1974 and 1975, originally released on LP only in 2009. Contains the complete original material (three more tracks than the 2009 release) on CD for the first time (with original running order). Just when you think you have grasped Conrad Schnitzlers master plan, every time you kid yourself into predicting what you are about to hear, the next record comes along to prove you wrong. Motorik is writ large throughout. Even the less rhythmic passages remain grounded, never drifting into absolute abstraction. A more or less distinct ostinato runs through each track, condensed into a complex tapestry of electronic surprises amidst Schnitzlers typical cascades of sound and flashes of noise. And so the journey to the most distant corner of Schnitzlers world begins. Majestic drones and tricky melodies fly past the listener. Is this still the music of Schnitzler, the conceptual artist? Yes, undoubtedly. His view or concept of art allowed him the freedom to experiment in all directions, a stroke of luck for the listener. The Silber (trans. Silver) album offers up a form of pop music preempting nothing, unrelated to anything else. Far more, it represents Schnitzlers unique and inimitable blueprint for a music of the future, music which still astounds when we hear it today, almost 40 years later -- and it poses the almost philosophical question, whether this future has already happened or is yet to happen? Schnitzler was not alone in daring to create future music in the 1970s; yet many visions of that era were short-lived and appear rather dusty today, even a little embarrassing. The "precious metal" albums, in contrast, escape the zeitgeist and are patently resistant to retromaniac constraints. Schnitzlers artistic and -- let us spell it out -- aesthetic autonomy celebrates a veritable victory here. Liner notes by Asmus Tietchens." - Bureau B

Artist: SCHNITZLER, CONRAD
Title: 1.7.84
Format: CD
Label: Captain Trip
Country: Japan
Price: $24.00
"The original LP was pressed as 222 copies and sold by mail order in 1984. Including 11 bonus tracks from the same time. 2008 digital remaster version with print + stumped paper sleeve, same as the original. First release on CD. Limited to 1,000 copies."-Captain Trip

Artist: SCHNITZLER, CONRAD
Title: Con 85
Format: Double CD
Label: Captain Trip
Country: Japan
Price: $34.00
"The original was released as a double cassette on Transmitter Cassetten in 1985. Includes 52 tracks on 2 CDs. 2009 digital remaster version with special gate-fold paper sleeve. First time released on CD. Limited 1,000 copies." -Captain Trip

Artist: SCHNITZLER, CONRAD
Title: Concert
Format: CD
Label: Captain Trip
Country: Japan
Price: $24.00
"The original LP was released in 1986. Includes 3 bonus tracks from same time. Cover art design: Matt Howarth. 2009 digital remaster version with paper sleeve, same artwork as the original. Ltd. 1,000 copies." -Captain Trip

Artist: SCHNITZLER, CONRAD
Title: Congratulacion
Format: CD
Label: Captain Trip
Country: Japan
Price: $24.00
"Recorded in 1986. The original LP was released on Discos Esplendor Geometrico in 1988. Including 6 unreleased tracks as bonus. 2009 digital remaster version with paper sleeve, same artwork as the original. Limited 1,000 copies." -Captain Trip

Artist: SCHNITZLER, CONRAD
Title: Contempora
Format: CD
Label: Captain Trip
Country: Japan
Price: $27.00
"The original LP was pressed as 500 copies in 1981. Including bonus tracks made at the same time. 2008 digital remaster version with stumped paper sleeve, miniature newspaper and debossed paper, same as the original. First release on CD. Limited to 1,000 copies." - Captain Trip.

Artist: SCHNITZLER, CONRAD
Title: Context
Format: CD
Label: Captain Trip
Country: Japan
Price: $24.00
"This is a reissue of a cassette release on Transmitter Casseten in 1981. Sound materials for Schnitzlers street performance! Including one unreleased bonus track. 2008 digital remaster version with special paper sleeve. First release on CD. Limited to 1,000 copies."-Captain Trip

Artist: SCHNITZLER, CONRAD
Title: Control
Format: CD
Label: Captain Trip
Country: Japan
Price: $24.00
"Recorded between 1978 and 1981. Non-keyboard electronics! The original LP was released on DYS records, an American independent label in 1981. Includes 14 tracks from T5 cassette materials. 2009 digital remaster version with paper sleeve + miniature insert, same as the original. Limited 1,000 copies." -Captain Trip

Artist: SCHNITZLER, CONRAD
Title: Convex
Format: CD
Label: Captain Trip
Country: Japan
Price: $24.00
"The original LP was pressed as 500 copies in 1982. Including 6 bonus tracks from the Container cassette. 2008 digital remaster version with paper sleeve, same as the original. Limited to 1,000 copies."-Captain Trip

Artist: SCHNITZLER, CONRAD
Title: Electrocon
Format: CD
Label: Captain Trip
Country: Japan
Price: $23.50
""Recorded in 1980-1981. Previously unreleased full album, 14 tracks. With special paper sleeve. Digital remaster version, limited 1,000 copies!! " - Captain Trip.
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Live 72
Format: Double LP
Label: Further
Country: USA
Price: $24.00
"There are not too many names that get us more excited here at AZ HQ than Conrad Schnitzlers. Since the mid-1960s, Schnitzler has been one of the undisputed masters of electronic experimentation, and his name is synonymous with Krautrocks innovation and defiant musical vision. A prolific solo artist, he also founded Kluster (later Cluster) with Dieter Moebius and Hans-Joachim Roedelius, was an early collaborator with seminal Kosmische acts Tangerine Dream and Klaus Schulze, and, in 1967, founded the Zodiak Free Arts Lab in West Berlin, an experimental performance space designed for the exploration of musical and political freedom (where Tangerine and Klaus both played). So, for previously unreleased material from Conrad to become available is is an exciting affair indeed-- especially for those of us not lucky enough to have been in the crowds those nights in the 70s. Further Records have done just that, taking a previously unreleased 1972 performance from the vault and giving it a double LP pressing. As Conrad explains the origins of the performance: "I was invited to be part of an art exhibition, Szene 72 (it means 1972). This was happening in Stuttgart, London and Hamburg. From the London performance there was some music that was recorded to tape, but all this old cheap tape-material does not run on a tape player anymore. This, what you have, this has survived." -Further. "This is a precious artefact of a man fully in control, and ahead of his game." -Daniel Gottlieb, Altered Zones

Artist: SCHNITZLER, CONRAD
Title: Trigger Trilogy
Format: 3CD Box Set
Label: Important
Country: USA
Price: $27.00
"Nice box of great-sounding unreleased recordings from Schnitzlers vault. No recordings dates or additional information is included, but this is "cold, electronic sound" at its best."-FE. "Trigger Trilogy consists of three discs each selected from hundreds of hours of Schnitzlers private recordings. Each represents one of the few unique approaches that Schnitzler takes to recording, each uniquely identified and defined by Schnitzler. Within each of these recordings one can hear how Schnitzler influenced a generation of artists not only in Germany but in the world around and how hes brought those sounds into the modern day. Its also apparent in these recordings that Schnitzler is thoughtful and enlightened, a total pioneer floating freely in a world of sound. Trigger One consists of what Schnitzler calls his Solo Voices or Solo Electronics. This particular recording happens to be rhythmically-based electronic work. Recognizing that in traditional music the melodic line is subordinate to the ensemble leaving it no true impression of its own, Schnitzler has liberated the solo voice in his own music and given it its own vocation as noise, tone and sound. Trigger Two is what Schnitzler refers to as Free Concert Mix Solos. Trigger Three, the final disc in the Trigger Trilogy, is a Con-Cert. "-Important.

Artist: SCHNITZLER, CONRAD
Title: Ballet Statique
Format: LP
Label: M=Minimal
Country: Germany
Price: $16.00
"M=Minimal continues their collaboration with electronic music legend Conrad Schnitzler, and presents after 30 years, the re-release of one of the key works from Conrads large, adventurous back catalog. Ballet Statique is not only a musical milestone but also a highlight of music production. It was recorded in 1978 at the legendary Paragon Studio, Berlin by Tangerine Dreams Peter Baumann in the same period when other masterworks like Clusters Großes Wasser and solo recordings by Roedelius and Asmus Tietchens were recorded. Ballet Statique was first released on the German Paragon label, under the original title Con (also issued on legendary French label Egg). This album is a must-have, and not only for fans of Emeralds and Oneohtrix Point Never." -M=Minimal
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Endtime
Format: Double LP
Label: M=Minimal
Country: Germany
Price: $31.00
"Bureau B is honored to be able to present Conrad Schnitzlers last work. Only a few days before he passed away in August 2011, he created this unique, almost 70-minute-long work. Thirty-six parts mixed into each other create a walk through his entire work. This record is not only for fans of Conrad Schnitzler -- its like a trip through 40 years of electronic music. Schnitzler once again shows how strongly he has influenced artists such as Emeralds and Oneohtrix Point Never. Without his solo works and his projects Kluster, Tangerine Dream and Eruption, electronic music wouldnt be the same." - M=Minimal.

Artist: SCHNITZLER, CONRAD
Title: Zug: Reshaped And Remodeled
Format: LP
Label: M=Minimal
Country: Germany
Price: $23.00
"Conrad Schnitzler is an early member of Tangerine Dream and a founding member of Kluster, along with Dieter Moebius and Hans-Joachim Roedelius, and his works will always be important. Ricardo Villalobos and Max Loderbauer were so fascinated by his album Zug (MINIMAL 001LP), that they immediately delivered two reshapes of this milestone of electronic music. Max Loderbauer is a veteran of the Berlin techno scene, who became known with his project Sun Electric. For his current project NSI and as a member of the Moritz Von Oswald Trio, Max Loderbauer enjoys a worldwide reputation. His great cooperation with Ricardo Villalobos for the legendary ECM label appeared in many "Best of 2011" lists. Ricardo Villalobos is one of the leading techno DJ/producer/musicians. He has influenced the scene for more than 15 years. The "Aktion" mix targets with 100% certainty on the dancefloor, but is also suited to wake you up in the morning. DJs need this 20-minute mix as a tool. The "Sorgenkind" mix is not for the mainfloor but for fans of the broken beats. Everybody who enjoyed the RE-ECM work of the two will love this 15-minute mix. Schnitzler/Loderbauer/Villalobos = dreamteam. Includes a download coupon with two amazing remixes by Stefan Betke aka Pole and Borngräber & Strüver." -M=Minimal.

Artist: SCHNITZLER, CONRAD
Title: 10.10.84
Format: Cass
Label: Mirror
Country: Malaysia
Price: $11.00
"Conrad Schnitzler, a previous student of Joseph Beuys, and a founding member of Tangerine Dream and Kluster, as a soloist developed the idea of the “kassetten konzert” or cassette concert, utilizing pre-recorded synthesized sounds on separate tapes, which were mixed together through adjustments of volume and equalization into a vaster and more complex piece that formed his live remix performances. Each event is unique due to the element of unpredictability in his real-time improvisations, and this is a documentation of such a performance on 10th October 1984, Berlin." -Mirror

Artist: SCHNITZLER, CONRAD
Title: Con 72
Format: LP
Label: QBICO
Country: Italy
Price: $25.00
"Conrad Schnitzler was a central figure in the development of electronic and experimental music in Germany since the end of the 60s. In fact he was co-founder of the Zodiak Club in Berlin in 1968, where Agitation Free used to play intermedia shows, he also took part in the recording of Tangerine Dream 1st record Electronic Meditation (with Edgar Froese and Klaus Schulze). Then he recorded with Hans-Joachim Roedelius and Dieter Moebius as Kluster, two key records: Klopfzeichen and Kluster zwei-Osterei (after he left Moebius and Roedelius continue to record as Cluster). Founded the Eruption project, an open band for many musicians (including Manuel Gottsching), various secret performances (such the ones in the furnace room of his house in Berlin). The recording on Qbico LP pre-dates the legendary record Rot (rec. April 1973), which was part of the colored series records: Gelb, Grun, Blau, Schwarz. In fact in 1972 Schnitzler toured for the exhibition Scene 72 and in London he bought the recently born Synthie A (which was being produced near London) and gave a concert at the German Institute (he eventually bring back to Germany another Synthie A for the band Kraftwerk). The music from this concert is really raw and wild, with the instrument frequencies pushed to the limits (its much more close to the classic music of concrete masters, such as Xenakis, Parmegiani, Henry, Schaeffer, then to his cosmique electronic records, such as Rot for example). A mind-blowing performace from one of the greatest sound illusionist of all time." - QBICO.
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Con 72 Part II
Format: LP
Label: QBICO
Country: Italy
Price: $23.50
Conrad Schnitzler- Synthie A, rec. live at the German Institute, London, Spring 1972. "Second and final part of this legendary concert. For sure some of the most intense and dramatic electronic music ever heard live!" - QBICO.
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Silver
Format: LP
Label: QBICO
Country: Italy
Price: $24.00
"Recorded 1974/75. Vintage Schnitzler, available here for the first time. This recording from 1974/75 was part of the legendary colored series of albums: Rot, Grun, Gelb, Schwartz. 180 gram vinyl." -Qbico
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Zug
Format: Picture Disc LP
Label: QBICO
Country: Italy
Price: $23.50
"First time ever on vinyl of the Red cassette, which was originally released privately by Con in the early 70s in few hundred copies. Classic Con-electronic waves... endless..." 2 side-long tracks, recorded 1973." - QBICO.
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Blau
Format: LP
Label: Very Good
Country: Germany
Price: $35.00
Small stash of these late 90s vinyl issues, recently reissued on CD by Captain Trip. Limited to 500.
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Gelb
Format: LP
Label: Very Good
Country: Germany
Price: $35.00
Small stash of these late 90s vinyl issues, recently reissued on CD by Captain Trip. Limited to 500.
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Live Action 1977
Format: LP
Label: Very Good
Country: Germany
Price: $35.00
SOLD OUT

Artist: SCHNITZLER, CONRAD
Title: Rot
Format: LP
Label: Very Good
Country: Germany
Price: $35.00
Small stash of these late 90s vinyl issues, recently reissued on CD by Captain Trip. Limited to 500.
SOLD OUT

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