{"title":"Conrad Schnitzler","description":"","products":[{"product_id":"schnitzler-conrad-silver","title":"SCHNITZLER, CONRAD - Silver","description":"\u003cp\u003e\"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, Schwarz. 180 gram vinyl\". -Qbico\u003c\/p\u003e","brand":"QBICO","offers":[{"title":"LP","offer_id":51916499463,"sku":"8252-QBICO","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1667070-1284877686_jpeg.jpg?v=1571717738"},{"product_id":"schnitzler-conrad-101084","title":"SCHNITZLER, CONRAD - 10.10.84","description":"\u003cp\u003eConrad Schnitzler, a previous student of Joseph Beuys, and a founding member of Tangerine Dream and Kluster, as a soloist developed the idea of the -¢‚Ǩ-ìkassetten konzert-¢‚Ǩ¬ù 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\u003c\/p\u003e","brand":"Mirror","offers":[{"title":"Cass","offer_id":51929317063,"sku":"10754-MIRROR","price":11.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-2483948-1404098312-8632_jpeg.jpg?v=1571717910"},{"product_id":"montgomery-conrad-schnitzler-gen-ken-gencon-duets","title":"MONTGOMERY \u0026 CONRAD SCHNITZLER, GEN KEN - GenCon Duets","description":"\u003cp\u003eGenCon Duets is dedicated to a friendship etched in stone -- errr -- letter-pressed in paper. It is also an unusual musical collaboration between Gen Ken Montgomery and Conrad Schnitzler. A follow-up to their 1988 album CONGEN New Dramatic Electronic Music (Generations Unlimited), this is a different kind of electronic music. These recordings were made in 1996 with CONs contemplative 12 finger piano compositions and GENs everyday recordings. Besides a long pleasurable listen these recordings represent an examination of music, how we listen to it and what we hear, intended or not. The music of GenCon Duets is not a perfected formula or mathematical equation. It is the resonance of a moment, a series of moments that play out in time and space beyond the control of the artists and ultimately our control as listeners. - Geoff Dugan.\\r\\n\"The audio CD is comprised of 7 untitled tracks: 58 minutes of music. The package includes 12 image cards, video stills of the artists from Trans Berlin-Brooklyn Exchange created by Guido Englich (1985) using a Mac Plus from the video On Their Way by Gregor Schnitzler (1985). The cake-box like container and image cards were designed by GEN, Ben Owen and GD. The entire package was letter-pressed at Middlepress, Brooklyn, New York in a limited edition of 300.\" -GD Stereo. 2010 release.\u003c\/p\u003e","brand":"GD Stereo","offers":[{"title":"CD","offer_id":51941926279,"sku":"13490-GD STEREO","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-2250150-1272389613_jpeg.jpg?v=1571718058"},{"product_id":"schnitzler-conrad-silber","title":"SCHNITZLER, CONRAD - Silber","description":"\u003cp\u003e\"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\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/nFBu4kZX2tU\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":51945211975,"sku":"14835-BUREAU B","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-10051963-1490782704-1200_jpeg.jpg?v=1571718133"},{"product_id":"schnitzler-pyrolator-conrad-construct","title":"SCHNITZLER\/PYROLATOR, CONRAD - Con-Struct","description":"\u003cp\u003e\"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 of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius), and released countless solo albums. Pyrolator, born Kurt Dahlke in 1958, cofounder of the legendary German label and publisher Ata Tak, member of various seminal post-punk bands including D.A.F. and Der Plan, has released solo albums under his artist name from 1979 on. The Con-Struct series has its roots in Schnitzlers daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in subsequent live performances and amassed a vast sound archive. When the Berlin-based m=minimal label reissued two Conrad Schnitzler albums in 2010 and 11 (MINIMAL 001LP, MINIMAL 004LP), label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of constructing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD\/LP), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzlers unique world of sound. Andreas Reihse (Kreidler) was responsible for the second installment in 2013 (MINIMAL 014CD\/LP), and now Strüver has chosen Pyrolator to assume Schnitzlers mantle. A few words from Pyrolator: It was a great honour for me to be asked to curate an edition of the Con-Struct series. Conrads work is simply too important to turn down such an offer. The guidelines for the Con-Struct series require the curator to select individual tracks which Conrad had used in his live shows and rearrange them to create something new. I must admit, I could not resist the temptation to add one or two of my own ideas. The original tracks were so inspiring, I just had to. My prime objective was to present a side of Conrad which I had always heard in his music but one which often goes unnoticed: a darker, technoid side. In my opinion, Conrad has always been one of the great pioneers of classic Berlin techno music. I look forward to many more chapters in the Con-Struct collection. Conrads oeuvre is so extensive and so diverse that many more fascinating aspects await discovery.\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":52003746375,"sku":"17065-BUREAU B","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BB252CD_CU.jpg?v=1693154041"},{"product_id":"schnitzler-conrad-filmmusik-1","title":"SCHNITZLER, CONRAD - Filmmusik 1","description":"\u003cp\u003e_¢‚Ǩ_ìBureau 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(Popul_ɬ§re 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._¢‚Ǩ¬ù - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":52019558983,"sku":"18889-BUREAU B","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-9293940-1478105474-3711_jpeg.jpg?v=1571718452"},{"product_id":"schnitzler-pharmakustik-conrad-extruder-clear-vinyl","title":"SCHNITZLER \u0026 PHARMAKUSTIK, CONRAD - Extruder (Clear Vinyl)","description":"\"Clear vinyl version. Edition of 150 (numbered). Extruder is the second unreleased album from the 1987 collaboration between Conrad Schnitzler and Siegmar Fricke (Pharmakustik) who composed and made several tapes of session-material during their musical meetings in Berlin. All recordings produced, arranged, and mastered by Siegmar Fricke at Pharmakustik-studio. The album contains high doses of hydraulically-driven energy generated by complex analog equipment. Micro-formed sound pools of cold extrusion collide with voltage-controlled pulsations, tape-echoed modulations, and eruptive sound-deformations. Electrostatic charge (caused by compressed configurations of mechanical rhythms in \"Kontaktmechanik\") has been combined with sonic lubrications of processed accelerators in \"Umspulung\". \"Abrasion Métallique\" contains all the acoustic trademarks by Conrad Schnitzler: excessive experiments with dissonant portamentos of the EMS-Synthi A and Korg MS20, overlaid by metallic pressure drag of the modified rhythm-machine. Acoustically and graphically, Extruder continues in the excellent Schwarz-Rot-Blau-series by Conrad like the pre-released 'Kontraktion'. The audiochemists Conrad Schnitzler and Pharmakustik developed a timeless and uncompromising masterpiece of audiomechanical engineering.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686898823231,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR066CLRLP_PROD.jpg?v=1571718503"},{"product_id":"schnitzler-pharmakustik-conrad-extruder","title":"SCHNITZLER \u0026 PHARMAKUSTIK, CONRAD - Extruder","description":"\"Extruder is the second unreleased album from the 1987 collaboration between Conrad Schnitzler and Siegmar Fricke (Pharmakustik) who composed and made several tapes of session-material during their musical meetings in Berlin. All recordings produced, arranged, and mastered by Siegmar Fricke at Pharmakustik-studio. The album contains high doses of hydraulically-driven energy generated by complex analog equipment. Micro-formed sound pools of cold extrusion collide with voltage-controlled pulsations, tape-echoed modulations, and eruptive sound-deformations. Electrostatic charge (caused by compressed configurations of mechanical rhythms in \"Kontaktmechanik\") has been combined with sonic lubrications of processed accelerators in \"Umspulung\". \"Abrasion Métallique\" contains all the acoustic trademarks by Conrad Schnitzler: excessive experiments with dissonant portamentos of the EMS-Synthi A and Korg MS20, overlaid by metallic pressure drag of the modified rhythm-machine. Acoustically and graphically, Extruder continues in the excellent Schwarz-Rot-Blau-series by Conrad like the pre-released \"Kontraktion\". The audiochemists Conrad Schnitzler and Pharmakustik developed a timeless and uncompromising masterpiece of audiomechanical engineering.\" - Rotorelief.","brand":"Rotorelief","offers":[{"title":"LP","offer_id":12686923169855,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR066LP_PROD.jpg?v=1571718503"},{"product_id":"schnitzler-conrad-conditions-of-the-gas-giant","title":"SCHNITZLER, CONRAD - Conditions of the Gas Giant","description":"\u003cp\u003e\"Bureau B present a reissue of Conrad Schnitzler's Conditions of the Gas Giant, originally released on cassette in 1988. The Berlin artist first released these recordings on a small American cassette label. Admirers of the seminal artist Conrad Schnitzler can be found all over the planet, including the USA, of course. Matt Howarth, illustrator and independent comic artist, is one of them. He has been following Schnitzler's music since the early 1970s whilst drawing offbeat science fiction stories. One day Howarth came up with the idea of making Schnitzler a member of a notorious band -- The Bulldaggers -- who featured in one of his comic series. Not wanting to go ahead without permission, he got in touch with Schnitzler who readily embraced the idea. In fact, he posted a pile of photos by return so that the graphic artist could draw him properly. The Bulldaggers popped up repeatedly in the comics and Schnitzler was (repeatedly) delighted. A friendship soon developed between him and Howarth. In 1986, Howarth designed his first cover for a Schnitzler album (Concert) and the following year Schnitzler entrusted him with tapes which Howarth was able to bring to the notice of the small American label Bird O' Pray. Considering the label's predominantly punk and early garage leanings, Howarth and Schnitzler were as surprised as each other to see the album successfully released on cassette. Howarth and Schnitzler came up with the album title together. Conditions of the Gas Giant reflected the atmosphere they associated with the music, clouds of manifold colors, whirling nervously above a gaseous planet. A methane and helium tryst in sonic form -- fireworks, pyrotechnics for the eyes, like the surface of Jupiter, just as Schnitzler's tracks are pyrotechnics for the ears. This is the image conveyed by Matt Howarth in the liner notes for the reissue -- naturally designed by himself -- based on the aborted 1990s CD release. He also called on his friend D.H. Kister for further assistance, the man who first introduced him to Schnitzler's music almost fifty years ago. First CD and vinyl release.\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":16021280686143,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB320CD_CU.jpg?v=1571718663"},{"product_id":"copy-of-schnitzler-conrad-conditions-of-the-gas-giant","title":"SCHNITZLER, CONRAD - Conditions of the Gas Giant","description":"\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2576597949\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/conradschnitzler.bandcamp.com\/album\/conditions-of-the-gas-giant\"\u003eConditions of the Gas Giant by Conrad Schnitzler\u003c\/a\u003e\u003c\/iframe\u003e\"Bureau B present a reissue of Conrad Schnitzler's Conditions of the Gas Giant, originally released on cassette in 1988. The Berlin artist first released these recordings on a small American cassette label. Admirers of the seminal artist Conrad Schnitzler can be found all over the planet, including the USA, of course. Matt Howarth, illustrator and independent comic artist, is one of them. He has been following Schnitzler's music since the early 1970s whilst drawing offbeat science fiction stories. One day Howarth came up with the idea of making Schnitzler a member of a notorious band -- The Bulldaggers -- who featured in one of his comic series. Not wanting to go ahead without permission, he got in touch with Schnitzler who readily embraced the idea. In fact, he posted a pile of photos by return so that the graphic artist could draw him properly. The Bulldaggers popped up repeatedly in the comics and Schnitzler was (repeatedly) delighted. A friendship soon developed between him and Howarth. In 1986, Howarth designed his first cover for a Schnitzler album (Concert) and the following year Schnitzler entrusted him with tapes which Howarth was able to bring to the notice of the small American label Bird O' Pray. Considering the label's predominantly punk and early garage leanings, Howarth and Schnitzler were as surprised as each other to see the album successfully released on cassette. Howarth and Schnitzler came up with the album title together. Conditions of the Gas Giant reflected the atmosphere they associated with the music, clouds of manifold colors, whirling nervously above a gaseous planet. A methane and helium tryst in sonic form -- fireworks, pyrotechnics for the eyes, like the surface of Jupiter, just as Schnitzler's tracks are pyrotechnics for the ears. This is the image conveyed by Matt Howarth in the liner notes for the reissue -- naturally designed by himself -- based on the aborted 1990s CD release. He also called on his friend D.H. Kister for further assistance, the man who first introduced him to Schnitzler's music almost fifty years ago. First CD and vinyl release.\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":16023045439551,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB320CD_CU_d90096d8-a58a-4077-9231-5cd3d6b65a58.jpg?v=1571718665"},{"product_id":"schnitzler-frank-bretschneider-conrad-con-struct-bureau-b-germany-lp","title":"SCHNITZLER \u0026 FRANK BRETSCHNEIDER, CONRAD - Con-Struct","description":"\"About the Con-Struct series: Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=minimal label in Berlin reissued two Conrad Schnitzler albums at the outset of the 2010s, label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD\/LP, 2011), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound.\n\nFrank Bretschneider on his \"Con-Structions\": \"I read the name Conrad Schnitzler for the first time in the article about Tangerine Dream in the Rowohlt Rock Lexicon from 1973. The first time I heard his music was only in 1980, when his wave track 'Auf dem Schwarzen Kanal' was played on the radio . . . It wasn't until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius's East Berlin Kröten Kassetten label. And again almost ten years later his Plate Lunch CDs Rot and 00\/106 (1997). But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer. Schnitzler's early role as cofounder of two influential bands is one reason for the ongoing reception. Another is his consequence as an artist. 'I'm not interested in having publicity or a public feedback' he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self-taught person and as someone who prefers to look forward instead of looking back: 'I don't want nostalgia.' After all it was Jens Strüver who inspired me to work with Conrad Schnitzer's material. I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler's world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own.\"\" - Bureau B .","brand":"Bureau B","offers":[{"title":"LP","offer_id":32754525732927,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB349LP_CU.jpg?v=1595027164"},{"product_id":"schnitzler-conrad-con-bureau-b-germany-cd","title":"SCHNITZLER, CONRAD - Con","description":"\"Bureau B present a reissue of Conrad Schnitzler's Con, originally released in 1978. Conrad Schnitzler: In the electric garden by Wolfgang Seidel, May 2020: \"... Whilst on shore leave in Düsseldorf, Conrad Schnitzler heard about a professor at the School of Art (Kunstschule) who also accepted students into his class without high school diplomas. Conrad Schnitzler became one of them. The spirit of a fundamental new beginning bonded this generation of artists together, with Karlheinz Stockhausen and Gottfried Michael Koenig the most radical proponents. Perhaps it was due to the fact that music had been so corrupted under National Socialist rule, from classical to the Schlager variety. Schnitzler was fascinated by the new sounds he heard on the radio in the evenings. To his ears, they connected the struggle for independence to the planning and precision he had learned as a mechanical engineer. At the same time, he understood that music like this was only possible within an institutional framework to which he had no access. So, he set about creating his own framework. Schnitzler bought his first synthesizer in the early 1970s -- a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a 'cassette organ' out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfürstendamm, West Berlin's premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers . . . Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzler's successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer, and his EMS Synthi (a portable model in an attaché case), having transported the whole lot on his delivery bicycle . . . The last record to be completed at Paragon reveals Schnitzler's lighthearted rapprochement with German New Wave (Neue Deutsche Welle) . . . The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing, and looping, came to an end when the studio was sold and Peter Baumann moved to the USA.\" - Bureau B .","brand":"Bureau B","offers":[{"title":"CD","offer_id":32886771941439,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB350CD_CU_2900fcda-7ac1-4ff1-afb6-9da9e5e24dd0.jpg?v=1597330917"},{"product_id":"schnitzler-frank-bretschneider-conrad-con-struct-bureau-b-germany-cd","title":"SCHNITZLER \u0026 FRANK BRETSCHNEIDER, CONRAD - Con-Struct","description":"\"About the Con-Struct series: Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=minimal label in Berlin reissued two Conrad Schnitzler albums at the outset of the 2010s, label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD\/LP, 2011), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound.\n\nFrank Bretschneider on his \"Con-Structions\": \"I read the name Conrad Schnitzler for the first time in the article about Tangerine Dream in the Rowohlt Rock Lexicon from 1973. The first time I heard his music was only in 1980, when his wave track 'Auf dem Schwarzen Kanal' was played on the radio . . . It wasn't until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius's East Berlin Kröten Kassetten label. And again almost ten years later his Plate Lunch CDs Rot and 00\/106 (1997). But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer. Schnitzler's early role as cofounder of two influential bands is one reason for the ongoing reception. Another is his consequence as an artist. 'I'm not interested in having publicity or a public feedback' he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self-taught person and as someone who prefers to look forward instead of looking back: 'I don't want nostalgia.' After all it was Jens Strüver who inspired me to work with Conrad Schnitzer's material. I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler's world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own.\" - Bureau B .","brand":"Bureau B","offers":[{"title":"CD","offer_id":32886772301887,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB349CD_CU_fc5b903d-6a6a-490b-800a-65f65e8186c9.jpg?v=1597330918"},{"product_id":"schnitzler-conrad-con-bureau-b-germany-lp","title":"SCHNITZLER, CONRAD - Con","description":"\"Bureau B present a reissue of Conrad Schnitzler's Con, originally released in 1978. Conrad Schnitzler: In the electric garden by Wolfgang Seidel, May 2020: \"... Whilst on shore leave in Düsseldorf, Conrad Schnitzler heard about a professor at the School of Art (Kunstschule) who also accepted students into his class without high school diplomas. Conrad Schnitzler became one of them. The spirit of a fundamental new beginning bonded this generation of artists together, with Karlheinz Stockhausen and Gottfried Michael Koenig the most radical proponents. Perhaps it was due to the fact that music had been so corrupted under National Socialist rule, from classical to the Schlager variety. Schnitzler was fascinated by the new sounds he heard on the radio in the evenings. To his ears, they connected the struggle for independence to the planning and precision he had learned as a mechanical engineer. At the same time, he understood that music like this was only possible within an institutional framework to which he had no access. So, he set about creating his own framework. Schnitzler bought his first synthesizer in the early 1970s -- a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a 'cassette organ' out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfürstendamm, West Berlin's premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers . . . Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzler's successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer, and his EMS Synthi (a portable model in an attaché case), having transported the whole lot on his delivery bicycle . . . The last record to be completed at Paragon reveals Schnitzler's lighthearted rapprochement with German New Wave (Neue Deutsche Welle) . . . The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing, and looping, came to an end when the studio was sold and Peter Baumann moved to the USA.\"\" - Bureau B .","brand":"Bureau B","offers":[{"title":"LP","offer_id":32969288712255,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB350LP_CU_5480617a-b6d2-48ba-a667-91c6fa62d5fe.jpg?v=1599004789"},{"product_id":"schnitzler-conrad-con-bureau-b-germany","title":"SCHNITZLER, CONRAD - Con","description":"\"LP version. Bureau B present a reissue of Conrad Schnitzler's Con, originally released in 1978. Conrad Schnitzler: In the electric garden by Wolfgang Seidel, May 2020: \"... Whilst on shore leave in Düsseldorf, Conrad Schnitzler heard about a professor at the School of Art (Kunstschule) who also accepted students into his class without high school diplomas. Conrad Schnitzler became one of them. The spirit of a fundamental new beginning bonded this generation of artists together, with Karlheinz Stockhausen and Gottfried Michael Koenig the most radical proponents. Perhaps it was due to the fact that music had been so corrupted under National Socialist rule, from classical to the Schlager variety. Schnitzler was fascinated by the new sounds he heard on the radio in the evenings. To his ears, they connected the struggle for independence to the planning and precision he had learned as a mechanical engineer. At the same time, he understood that music like this was only possible within an institutional framework to which he had no access. So, he set about creating his own framework. Schnitzler bought his first synthesizer in the early 1970s -- a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a 'cassette organ' out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfürstendamm, West Berlin's premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers . . . Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzler's successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer, and his EMS Synthi (a portable model in an attaché case), having transported the whole lot on his delivery bicycle . . . The last record to be completed at Paragon reveals Schnitzler's lighthearted rapprochement with German New Wave (Neue Deutsche Welle) . . . The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing, and looping, came to an end when the studio was sold and Peter Baumann moved to the USA.\" - Bureau B .","brand":"Bureau B","offers":[{"title":"LP","offer_id":33001739452479,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB350LP_CU.jpg?v=1599674502"},{"product_id":"schnitzler-conrad-paracon-the-paragon-session-outtakes-1978-1979-bureau-b-germany-cd","title":"SCHNITZLER, CONRAD - Paracon (The Paragon Session Outtakes 1978-1979)","description":"\"Conrad Schnitzler is incredible. I would dearly have loved to meet him, to have been present when he, Seidel and Baumann were working their magic at Paragon Studio. Fortuitously, Wolfgang Seidel, co-author of these pieces, has opened up his archive of recordings to the Bureau B label. He and Conrad Schnitzler spent many years together experimenting with sound, capturing the results on the two Consequenz albums, amongst others. I had the honor of meeting Wolfgang Seidel at the Golden Pudel Club during the 2018 Eruption Festival. Ken Montgomery, who worked with Schnitzler in New York towards the end of the 1980s, was also there. The concerts and performances were hauntingly powerful, infused with the spirit of Schnitzler's music and utopian vision. These entirely instrumental recordings were created in the late 1970s at Peter Baumann's Paragon Studio. In my opinion, this stellar period gave rise to the finest works: the Con (BB 350CD\/LP), Consequenz (BB 121CD\/LP), and Con 3 (BB 122CD\/LP) albums, featuring such wonderful pieces as \"Fata Morgana\", \"Coca\", and \"Auf dem schwarzen Kanal\". These recently discovered pieces take the aforementioned albums a stage further. Sounds complement each other as they are reprised, whilst continuing to exist in their own cosmos. As you listen, you feel as if you have been transported back into the studio itself while the sessions are happening. One surprise follows another -- the third track sounds like clocks ringing at a pitch which only a bat could really hear. Numbers '5' and '6' are not so far removed from abstract techno tracks by Jeff Mills, albeit with rather more swing, floating in upper tone sequences reminiscent of the American composer Conlon Nancarrow. Nr. '8' is an absolute dream\/wave piece, sounding like a relation of the (then) emerging Throbbing Gristle project. The tenth piece is my personal favorite, evoking a wave-romantic atmosphere which might lead you to believe that Conrad Schnitzler had been listening to The Cure. Schnitzler is electronica in its purest sense. He succeeds in rendering the unconscious audible. This goes far beyond 'music to listen to', it is music which works on different levels, music to move you.\" --Richard von der Schulenburg\" - Bureau B .","brand":"Bureau B","offers":[{"title":"CD","offer_id":37952402686141,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB355CD_CU_ec84ad8a-613e-498e-8f8e-149db8a4d817.jpg?v=1611274712"},{"product_id":"schnitzler-conrad-auf-dem-schwarzen-kanal-bureau-b-germany-12","title":"SCHNITZLER, CONRAD - Auf Dem Schwarzen Kanal","description":"2020 repress. \"Auf Dem Schwarzen Kanal is one of the most outstanding, most sought-after releases in Conrad Schnitzler's extensive catalog. It was the only Schnitzler record to appear on a major label and saw him flirting with the experimental new wave sound that was emerging in 1980, particularly on the title track. Nevertheless, it still managed to sound idiosyncratically unlike any other music around at the time. Recorded with Wolfgang Seidel at Peter Baumann's Paragon Studio in Berlin, the four tracks take us on a caustic, dissonant mutant disco trip which has lost none of its fascination in the years since. It gives us at Bureau B great pleasure to reissue this long lost work.\" - Bureau B .","brand":"Bureau B","offers":[{"title":"12\"","offer_id":39325187375293,"sku":"","price":16.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB357EP_CU.jpg?v=1615243173"},{"product_id":"schnitzler-conrad-paracon-the-paragon-session-outtakes-1978-1979-bureau-b-germany-lp","title":"SCHNITZLER, CONRAD - Paracon (The Paragon Session Outtakes 1978-1979)","description":"\"\"Conrad Schnitzler is incredible. I would dearly have loved to meet him, to have been present when he, Seidel and Baumann were working their magic at Paragon Studio. Fortuitously, Wolfgang Seidel, co-author of these pieces, has opened up his archive of recordings to the Bureau B label. He and Conrad Schnitzler spent many years together experimenting with sound, capturing the results on the two Consequenz albums, amongst others. I had the honor of meeting Wolfgang Seidel at the Golden Pudel Club during the 2018 Eruption Festival. Ken Montgomery, who worked with Schnitzler in New York towards the end of the 1980s, was also there. The concerts and performances were hauntingly powerful, infused with the spirit of Schnitzler's music and utopian vision. These entirely instrumental recordings were created in the late 1970s at Peter Baumann's Paragon Studio. In my opinion, this stellar period gave rise to the finest works: the Con (BB 350CD\/LP), Consequenz (BB 121CD\/LP), and Con 3 (BB 122CD\/LP) albums, featuring such wonderful pieces as \"Fata Morgana\", \"Coca\", and \"Auf dem schwarzen Kanal\". These recently discovered pieces take the aforementioned albums a stage further. Sounds complement each other as they are reprised, whilst continuing to exist in their own cosmos. As you listen, you feel as if you have been transported back into the studio itself while the sessions are happening. One surprise follows another -- the third track sounds like clocks ringing at a pitch which only a bat could really hear. Numbers '5' and '6' are not so far removed from abstract techno tracks by Jeff Mills, albeit with rather more swing, floating in upper tone sequences reminiscent of the American composer Conlon Nancarrow. Nr. '8' is an absolute dream\/wave piece, sounding like a relation of the (then) emerging Throbbing Gristle project. The tenth piece is my personal favorite, evoking a wave-romantic atmosphere which might lead you to believe that Conrad Schnitzler had been listening to The Cure. Schnitzler is electronica in its purest sense. He succeeds in rendering the unconscious audible. This goes far beyond 'music to listen to', it is music which works on different levels, music to move you.\" --Richard von der Schulenburg\" - Bureau B .","brand":"Bureau B","offers":[{"title":"LP","offer_id":39823729066173,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB355LP_CU_7bc625a1-7242-4bec-a9ee-b68c66e9a74c.jpg?v=1621774122"},{"product_id":"schnitzler-wolf-sequenza-conrad-consequenz-ii-bureau-b-germany-cd","title":"SCHNITZLER \u0026 WOLF SEQUENZA, CONRAD - Consequenz II","description":"\u003cp\u003e\"Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967\/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to numerous solo releases Schnitzler was also involved in various band formations not least Tangerine Dream and Kluster. Representing another of his musical landmarks are the Consequenz releases. Consequenz II emerged from a collaboration with Wolfgang Seidel alias Wolf Sequenza, and is the follow-up project to Consequenz (BB 121CD\/LP) which was a low-budget production that had an overriding aim of liberating music from its elitist circles in a \"Beuys-ian\" sense. Consequenz II returned to the theme with electronic apparatus that professionalized the sound but by no means reduced the fun he found in experimentation.\u003c\/p\u003e\n\n\u003cp\u003e\"... Schnitzler had studied sculpture under Joseph Beuys and the statement echoed his teacher's philosophy: 'Everyone is an artist.' The flyer continued in similar vein: 'ERUPTION are freeing the prisoners from their ivory towers.' Schnitzler viewed art as social practice, not the realm of specialists. Anyone could get involved. You didn't even need to be able to play an instrument. The flyer also announced: 'Members of the audience who bring transistor radios will get reduced admission if they play music on their radios inside the venue.' That was back in 1971, ten years before we produced and recorded the Consequenz LP. We included instructions inside the sleeve for setting up just such a project with the minimum of technical fuss, inviting submissions which used the record as a playback tool... We had almost resigned ourselves to life in the ivory tower when a letter from a Spanish label (Esplendor Geometrico) reached us, asking for a sequel -- Consequenz II. It didn't take long for us to decide to accept the offer, encouraged by the fact that we would not have to finance the release out of our own pockets -- as had been the case with the first Consquenz. Certain 'secret devices' had materialized in our ivory tower in the meantime. Conrad Schnitzler had purchased an 8-track recorder with money he had earned from 'proper' art. I borrowed various bits of equipment from my band -- Populäre Mechanik -- including a drum computer, so we could really let rip. The little songs we made sounded much more 'professional' than the cheerfully low budget music of the first Consequenz... All we needed now was music for the B-side, but our enthusiasm for the borrowed drum computer had waned somewhat. It was always the first track we recorded, which meant that everything else had to follow its lead. The beat itself was singularly unimpressed by what came next. This was an unsatisfactory state of affairs for two players (musicians?) who had begun with free improvisation, with either of the participants able to change the direction of the whole thing...\" --Wolfgang Seidel, November 2021\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":42960805265627,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB403CD_CU.jpg?v=1655331107"},{"product_id":"schnitzler-conrad-con-84-bureau-b-germany-cd","title":"SCHNITZLER, CONRAD - Con 84","description":"\u003cp\u003e\"Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967\/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to many other musical stations, bustling Schnitzler was a member of the kraut-electronic formations Tangerine Dream and Kluster. Numerous solo releases complete his extensive oeuvre. One of them is Con 84, probably his most composed work, on which he challenges the traditions of so-called Ernste Musik. The result is a complex electronic sound structure that marks a break with Schnitzler's previous work in a subversive flirtation with traditionalism.\u003c\/p\u003e\n\n\u003cp\u003e\"... Con 84 is evidently the product of a computer-supported sound generator -- a sampler. The original LP came completer with sheet music inserts, so a music printer must also have been part of the package. It is hard to say which instruments Schnitzler had at his disposal in the early 1980s. And more to the point, where did he record these pieces? Was he still at Peter Baumann's Paragon Studio? Leaving such questions aside, what really matters here is the opportunity to gain an insight into Schnitzler's complex musical imagination and powers. It appears as if he wanted to show the listener that he can still compose in the classical sense, creating a series of miniatures which are not so far away from the infinite glittering patterns of the existing Schnitzler cosmos. Con 84 lines up polyphonic compositions from start to finish. John Cage, Fluxus, randomness -- nowhere to be seen. Schnitzler the traditionalist? A highbrow composer? On the contrary. Just as he so marvelously subverted common conceptions of art, Schnitzler crafted Con 84 to sound like Ernste Musik -- serious (classical) music. He was a master of camouflage (with a wink of the eye) and repeated the trick nine years later on the French release CD Con Brio. Following Schnitzler has always meant being ready to expect the unexpected. When he could, and had the financial means to do so, Schnitzler liked to use the latest technology. Con 84 was technologically advanced for its time, yet the music was paradoxically conventional...\" --Asmus Tietchens, 2022\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":42960805298395,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB411CD_CU.jpg?v=1655331108"},{"product_id":"schnitzler-wolf-sequenza-conrad-consequenz-ii-bureau-b-germany-lp","title":"SCHNITZLER \u0026 WOLF SEQUENZA, CONRAD - Consequenz II","description":"\u003cp\u003e\"Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967\/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to numerous solo releases Schnitzler was also involved in various band formations not least Tangerine Dream and Kluster. Representing another of his musical landmarks are the Consequenz releases. Consequenz II emerged from a collaboration with Wolfgang Seidel alias Wolf Sequenza, and is the follow-up project to Consequenz (BB 121CD\/LP) which was a low-budget production that had an overriding aim of liberating music from its elitist circles in a \"Beuys-ian\" sense. Consequenz II returned to the theme with electronic apparatus that professionalized the sound but by no means reduced the fun he found in experimentation.\u003c\/p\u003e\n\n\u003cp\u003e\"... Schnitzler had studied sculpture under Joseph Beuys and the statement echoed his teacher's philosophy: 'Everyone is an artist.' The flyer continued in similar vein: 'ERUPTION are freeing the prisoners from their ivory towers.' Schnitzler viewed art as social practice, not the realm of specialists. Anyone could get involved. You didn't even need to be able to play an instrument. The flyer also announced: 'Members of the audience who bring transistor radios will get reduced admission if they play music on their radios inside the venue.' That was back in 1971, ten years before we produced and recorded the Consequenz LP. We included instructions inside the sleeve for setting up just such a project with the minimum of technical fuss, inviting submissions which used the record as a playback tool... We had almost resigned ourselves to life in the ivory tower when a letter from a Spanish label (Esplendor Geometrico) reached us, asking for a sequel -- Consequenz II. It didn't take long for us to decide to accept the offer, encouraged by the fact that we would not have to finance the release out of our own pockets -- as had been the case with the first Consquenz. Certain 'secret devices' had materialized in our ivory tower in the meantime. Conrad Schnitzler had purchased an 8-track recorder with money he had earned from 'proper' art. I borrowed various bits of equipment from my band -- Populäre Mechanik -- including a drum computer, so we could really let rip. The little songs we made sounded much more 'professional' than the cheerfully low budget music of the first Consequenz... All we needed now was music for the B-side, but our enthusiasm for the borrowed drum computer had waned somewhat. It was always the first track we recorded, which meant that everything else had to follow its lead. The beat itself was singularly unimpressed by what came next. This was an unsatisfactory state of affairs for two players (musicians?) who had begun with free improvisation, with either of the participants able to change the direction of the whole thing...\" --Wolfgang Seidel, November 2021\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":42960805789915,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB403LP_CU.jpg?v=1655331128"},{"product_id":"schnitzler-conrad-con-84-bureau-b-germany-lp","title":"SCHNITZLER, CONRAD - Con 84","description":"\u003cp\u003e\"Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967\/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to many other musical stations, bustling Schnitzler was a member of the kraut-electronic formations Tangerine Dream and Kluster. Numerous solo releases complete his extensive oeuvre. One of them is Con 84, probably his most composed work, on which he challenges the traditions of so-called Ernste Musik. The result is a complex electronic sound structure that marks a break with Schnitzler's previous work in a subversive flirtation with traditionalism.\u003c\/p\u003e\n\n\u003cp\u003e\"... Con 84 is evidently the product of a computer-supported sound generator -- a sampler. The original LP came completer with sheet music inserts, so a music printer must also have been part of the package. It is hard to say which instruments Schnitzler had at his disposal in the early 1980s. And more to the point, where did he record these pieces? Was he still at Peter Baumann's Paragon Studio? Leaving such questions aside, what really matters here is the opportunity to gain an insight into Schnitzler's complex musical imagination and powers. It appears as if he wanted to show the listener that he can still compose in the classical sense, creating a series of miniatures which are not so far away from the infinite glittering patterns of the existing Schnitzler cosmos. Con 84 lines up polyphonic compositions from start to finish. John Cage, Fluxus, randomness -- nowhere to be seen. Schnitzler the traditionalist? A highbrow composer? On the contrary. Just as he so marvelously subverted common conceptions of art, Schnitzler crafted Con 84 to sound like Ernste Musik -- serious (classical) music. He was a master of camouflage (with a wink of the eye) and repeated the trick nine years later on the French release CD Con Brio. Following Schnitzler has always meant being ready to expect the unexpected. When he could, and had the financial means to do so, Schnitzler liked to use the latest technology. Con 84 was technologically advanced for its time, yet the music was paradoxically conventional...\" --Asmus Tietchens, 2022\" - Bureau B.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":42960805822683,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB411LP_CU.jpg?v=1655331130"},{"product_id":"schnitzler-wolfgang-seidel-conrad-music-is-not-language-neither-is-it-painting-just-music","title":"SCHNITZLER \u0026 WOLFGANG SEIDEL, CONRAD - Music is not language. Neither is it painting. Just music.","description":"\"A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel. Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza. Shortly before Schnitzler's death in 2011, he handed Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into 'solos' and 'mixes', where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled 'CONtext', where Schnitzler gives an account of his musical philosophy -- in a performative lecture with a lot of humor. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece. Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting eight-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972. The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a 'German synthethist' and member of the premiere insect-rock group, the Bulldaggers. Printed inner sleeve with insert of transcript of side A and liner notes; edition of 300.\" - Edition Telemark.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Any combination of sounds is just as valid as any other. Any means for the production of a group of sounds is just as valid as any other means. [...] Music is not what reaches our ear as a sound wave. It's not the sounds that are music, but what we've made out of them and what has been heard from them.\" - Conrad Schnitzler.","brand":"Edition Telemark","offers":[{"title":"LP","offer_id":42988848513243,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ET92306LP_CU.jpg?v=1656001785"},{"product_id":"schnitzler-pharmakustik-conrad-schubkraft-rotorelief-france-lp","title":"SCHNITZLER \u0026 PHARMAKUSTIK, CONRAD - Schubkraft","description":"\u003cp\u003e\"Kontraktion (ROTOR 051LP) and Extruder (ROTOR 066LP\/CLR-LP) are the results of various tape-sessions by Conrad Schnitzler and Siegmar Fricke in Con's former studio Leberstrasse in Berlin. The soundscapes on both records (produced in November 1986 and July 1987 with EMS-Synthi A, Korg MS 10 + MS 20 + delays) contain all the machinist energy and infernal industrial sound-eruptions similar to Conrad's first three albums Schwarz (BB 112CD\/LP), Rot (BB 102CD\/LP), and Blau (BB 103CD\/LP) and to the rumbling train wheel rhythms of Zug (MINIMAL 001LP) (from the Red Cassette 1974). The albums also carry the spirit of the first Cluster album (released in 1971 on Philips) due to the imposing brutalist elements and uneasy sci-fi atmospheres. Schubkraft, the third and final album of the Schnitzler\/Pharmakustik-triology (recorded during the same sessions in Berlin) contains two long pieces of thrust generated force and propulsive power. Soundwise an album combining mechanically driven rhythms and propelling velocity with rusty organic textures. The shiny yellow cover reflects the sheer explosive drive of the audio-material. The complete session-material has been refurbished, restructured and recombined by Siegmar Fricke at Pharmakustik-studio Germany.\" - Rotorelief.\u003c\/p\u003e","brand":"Rotorelief","offers":[{"title":"LP","offer_id":43113807806683,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ROTOR078LP_CU.jpg?v=1659011434"},{"product_id":"schnitzler-conrad-rot-bureau-b-germany-lp","title":"SCHNITZLER, CONRAD - Rot","description":"\"180 gram vinyl. 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, Schnitzler's first solo LP.  Includes a printed innersleeve with notes from Asmus Tietchens.\" - Bureau B .","brand":"Bureau B","offers":[{"title":"LP","offer_id":43802815398107,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB102LP_CU.jpg?v=1671052468"},{"product_id":"schnitzler-ken-montgomery-conrad-cas-con-ii-konzert-in-der-erloserkirche-ost-berlin-3-9-1986-bureau-b-germany-cd","title":"SCHNITZLER \u0026 KEN MONTGOMERY, CONRAD - CAS-CON II: Konzert in der Erloserkirche, Ost-Berlin, 3.9.1986","description":"\"As part of Bureau B's series Experimental Electronic Underground GDR, the label make a very special recording available again. The first contact between Conrad Schnitzler, who lived in West Berlin, and Jörg Thomasius, who was based in the east party of the city, came about in the late 1970s. In 1985, Schnitzler visited Thomasius in East Berlin for the first time. In the meantime, Thomasius had released cassettes in the GDR both as a soloist and with his group DFO (Das freie Orchester). The following year, the idea of a joint concert in East Berlin's Erlöserkirche was born. In the GDR, it was not possible to hold events in public without a so-called state \"classification\". DFO did not have this permit at that time and so public performances were only possible in the context of private or church institutions. In 1982, Schnitzler had already met the New York musician Ken Gen Montgomery, who then regularly performed Schnitzlers's compositions live at various venues worldwide. And so, Schnitzler also produced four cassettes especially for his concert in East Berlin, which were sent by courier from West to East Berlin. On the evening of 3.9.1986, the privately announced and illegal concert took place in the Erlöserkirche in East Berlin\/GDR. Montgomery mixed Schnitzler's music live from the tapes. Jörg Thomasius recorded the performance and released the recording in 1987 on his own underground cassette label, Krötenkassetten. Elaborately restored, the original recording is now being released for the first time under the title CAS-CON II. In addition to photos and contemporary documents, it also includes Jörg Thomasius's and Ken Gen Montgomery's written memories of this very special evening.\" - Bureau B.","brand":"Bureau B","offers":[{"title":"CD","offer_id":44130233286875,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB424CD_CU.jpg?v=1685554162"},{"product_id":"schnitzler-ken-montgomery-conrad-cas-con-ii-konzert-in-der-erloserkirche-ost-berlin-3-9-1986-bureau-b-germany-lp","title":"SCHNITZLER \u0026 KEN MONTGOMERY, CONRAD - CAS-CON II: Konzert in der Erloserkirche, Ost-Berlin, 3.9.1986","description":"\"LP version. As part of Bureau B's series Experimental Electronic Underground GDR, the label make a very special recording available again. The first contact between Conrad Schnitzler, who lived in West Berlin, and Jörg Thomasius, who was based in the east party of the city, came about in the late 1970s. In 1985, Schnitzler visited Thomasius in East Berlin for the first time. In the meantime, Thomasius had released cassettes in the GDR both as a soloist and with his group DFO (Das freie Orchester). The following year, the idea of a joint concert in East Berlin's Erlöserkirche was born. In the GDR, it was not possible to hold events in public without a so-called state \"classification\". DFO did not have this permit at that time and so public performances were only possible in the context of private or church institutions. In 1982, Schnitzler had already met the New York musician Ken Gen Montgomery, who then regularly performed Schnitzlers's compositions live at various venues worldwide. And so, Schnitzler also produced four cassettes especially for his concert in East Berlin, which were sent by courier from West to East Berlin. On the evening of 3.9.1986, the privately announced and illegal concert took place in the Erlöserkirche in East Berlin\/GDR. Montgomery mixed Schnitzler's music live from the tapes. Jörg Thomasius recorded the performance and released the recording in 1987 on his own underground cassette label, Krötenkassetten. Elaborately restored, the original recording is now being released for the first time under the title CAS-CON II. In addition to photos and contemporary documents, it also includes Jörg Thomasius's and Ken Gen Montgomery's written memories of this very special evening.\" - Bureau B.","brand":"Bureau B","offers":[{"title":"LP","offer_id":44130234990811,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BB424LP_CU.jpg?v=1685554209"},{"product_id":"schnitzler-conrad-blau-50th-anniversary-edition","title":"SCHNITZLER, CONRAD - Blau (50th Anniversary Edition)","description":"\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOn the red album, \u003c\/span\u003e\u003cb\u003eConrad Schnitzler\u003c\/b\u003e\u003cspan\u003e laid down the direction his musical artistry would take. The blue album (\u003c\/span\u003e\u003ci\u003eBlau\u003c\/i\u003e\u003cspan\u003e) offered confirmation of his intent. Maybe the \u003c\/span\u003e\u003ci\u003eRot\u003c\/i\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003eBlau\u003c\/i\u003e\u003cspan\u003e 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. Far more important than this historical pedantry is the fact that Schnitzler included two brand new compositions on \u003c\/span\u003e\u003ci\u003eBlau\u003c\/i\u003e\u003cspan\u003e 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 \u003c\/span\u003e\u003cb\u003eSteve Reich\u003c\/b\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cb\u003ePhilip Glass\u003c\/b\u003e\u003cspan\u003e, 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. \u003c\/span\u003e\u003ci\u003eBlau\u003c\/i\u003e\u003cspan\u003e is an archetypal example of this very phenomenon. Courage, the pioneering spirit and artistic brilliance can be detected in each part of the album's two infinite sequences. Inspired by \u003c\/span\u003e\u003cb\u003eJoseph Beuys\u003c\/b\u003e\u003cspan\u003e, 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 signposts to spatial and temporal infinity. Schnitzler's 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. Already a figure of prominence, perhaps he will one day be elevated to the status of a legend. Limited anniversary edition: embossed, reverse board, hand numbered, limited edition blue vinyl, 500 copies available.\" - Bureau B.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":45961324822747,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BB103LTDLP_CU.jpg?v=1723937312"},{"product_id":"schnitzler-conrad-gelb-50th-anniversary-edition","title":"SCHNITZLER, CONRAD - Gelb (50th Anniversary Edition)","description":"\u003cp\u003e\"Limited anniversary edition. Embossed, reverse board, hand numbered on limited-edition yellow vinyl. 500 copies available. Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967\/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The yellow album appeared in 1981, yet it contained recordings from the year 1974, originally released in a limited run on cassette.\" - Bureau B\u003c\/p\u003e\n\u003cp\u003e\"The chronology of Schnitzler's solo releases in the 1970s 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 Schnitzler's 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. Schnitzler's 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 Schnitzler's 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\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":46328500453595,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BB196LTDLP_CU.jpg?v=1733421878"},{"product_id":"schnitzler-wolf-sequenza-conrad-consequenz-iii","title":"SCHNITZLER \u0026 WOLF SEQUENZA, CONRAD - Consequenz III","description":"\u003cp\u003e\"Schnitzler 's collaborations with Wolf Sequenza aka Wolfgang Seidel occupy a special place in his vast musical output. They brought him closer to pop music than ever before or since, with the possible exception of Berlin Express and Auf dem schwarzen Kanal . Following Consequenz and Con 3 , Consequenz III is now the third album to be released from this phase of his work. \" Consequenz III follows on directly from the two previous albums. Once again, the pieces sound almost like pop music, once again they are rhythmically and harmoniously structured, once again they are between three and four minutes long. And once again, they are not 100% pop music, but rather a balancing act between strict, abstract seriality and contemporary electronics: no melodies, no vocals, and it's up to each listener to decide whether the pieces are danceable. Rather, the eleven pieces are rhythmic études or finger exercises, especially for Seidel, who once again plays with incredible precision, as if he were a sequencer himself. It is not for nothing that Schnitzler gave him the pseudonym Wolf Sequenza for their joint productions. Musicians such as Wolfgang Seidel continue to lend Schnitzler's sonic universe additional radiance. The fact that the pieces on Consequenz III have already been released in 2006 by the Japanese label Captain Trip under the title Consequenz 2 + was probably only noticed by very few Schnitzler fans outside Japan. Only a small number of the limited edition ever reached Europe, and sold out in no time. Consequenz III therefore reissues material that was previously known only to a few. And there's no end to it: Schnitzler left behind music that was either only released in very small editions (e.g. on cassettes or CDRs) or has never been released at all. There is still plenty to discover in the various archives. Will we ever get to know the 'whole Schnitzler'? I don't think so.\" -- Asmus Tietchens , 2025\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":47852565758171,"sku":null,"price":18.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":47852565790939,"sku":null,"price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BB489CD_PROD.jpg?v=1761264629"}],"url":"https:\/\/www.fusetronsound.com\/collections\/conrad-schnitzler.oembed?page=2","provider":"fusetron","version":"1.0","type":"link"}