{"title":"Conrad Schnitzler","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eConrad Schnitzler (17 March 1937 - 4 August 2011) was a pioneering figure in the German electronic music scene for three decades. He studied under Joseph Beuys in the mid-1960s and later joined Tangerine Dream, contributing a unique conceptual approach that helped propel the band to legendary status. After leaving Tangerine Dream, Schnitzler formed Kluster with his friends Moebius and Roedelius, releasing three albums before embarking on his solo career. Over the years, he released numerous albums and recordings on various labels worldwide. Sadly, Schnitzler passed away from stomach cancer in 2011, leaving behind an impressive body of work.\u003c\/p\u003e\n\u003cp\u003eSchnitzler's influence on electronic music cannot be overstated. His experimental style and avant-garde compositions pushed boundaries and challenged conventional norms within the genre. From his early collaborations with Tangerine Dream to his prolific solo career, Schnitzler consistently demonstrated an unwavering commitment to innovation and artistic exploration.\u003c\/p\u003e\n\u003cp\u003eDespite facing health challenges towards the end of his life, Schnitzler remained dedicated to creating music until the very end. Just four days before his passing, he completed his final work—a testament to his passion and enduring legacy as one of electronic music's true pioneers.\u003c\/p\u003e","products":[{"product_id":"kollektion-05-compiled-by-thomas-fehlmann","title":"Kollektion 05 - Compiled By Thomas Fehlmann","description":"\u003cp\u003eThomas Fehlmann (founder member of Palais Schaumburg and member of The Orb) collects and blends a selection of 1980's solo work by Conrad Schnitzler (Tangerine Dream, Kluster).\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD.","offer_id":50383559557451,"sku":"392411","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8fb3f037-4d98-451f-a4b7-469e16319f26_thumbnail_4096.jpg?v=1726272652"},{"product_id":"slow-motion-2","title":"Slow Motion","description":"\u003cp\u003eThe 1960s weren’t just about \u003cstrong\u003eThe Beatles\u003c\/strong\u003e, the \u003cstrong\u003eRolling Stones\u003c\/strong\u003e, and hippies, they also ushered in new forms of art: happenings, Fluxus, Neo-Dada, video art, to name just a few. As borders blurred, pop influenced art and art influenced pop.\u003c\/p\u003e\n\n\u003cp\u003eMany protagonists of the time chose to ignore borders altogether. This chaotic, euphoric atmosphere of extreme innovation lasted well into the 1970s and continues to resonate today. All manner of trailblazers shaped the soundscape of the era.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eConrad Schnitzler\u003c\/strong\u003e (born 1937) and \u003cstrong\u003eKarl Horst Hödicke\u003c\/strong\u003e (born 1938) – longstanding members of the official artistic canon – were multifunctional artists who painted, performed, sculptured, made films, and music. They were always to be found on the edge of the “permissible” and invariably went beyond “modern” perceptions of art.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eSchnitzler\u003c\/strong\u003e, \u003cstrong\u003eHödicke\u003c\/strong\u003e, and many of their contemporaries arrived at a completely new definition of the avant-garde. The circumstances of \u003cstrong\u003eSchnitzler\u003c\/strong\u003e and \u003cstrong\u003eHödicke\u003c\/strong\u003e’s first meeting are unknown, but it should come as no surprise that it was \u003cstrong\u003eSchnitzler\u003c\/strong\u003e who composed the soundtrack for \u003cstrong\u003eHödicke\u003c\/strong\u003e’s film entitled “\u003cem\u003eSlow Motion\u003c\/em\u003e” in 1976.\u003c\/p\u003e\n\n\u003cp\u003eThe two artists were cut from the same cloth, routinely crossing any boundaries they happened to encounter. \u003cstrong\u003eSchnitzler\u003c\/strong\u003e wrote music for each of the film’s 14 sequences, linking them together in a logical progression of minimalist imagery. Each piece of music quite brilliantly accentuated the preceding one.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eSchnitzler\u003c\/strong\u003e’s musical sensibility was wholly compatible with \u003cstrong\u003eHödicke\u003c\/strong\u003e’s approach to film. Not that \u003cstrong\u003eSchnitzler\u003c\/strong\u003e was ever a film composer. “\u003cem\u003eSlow Motion\u003c\/em\u003e” worked because \u003cstrong\u003eSchnitzler\u003c\/strong\u003e and \u003cstrong\u003eHödicke\u003c\/strong\u003e were on the same wavelength, daring to experiment with sound and vision in such a way that auditory and visual components were interdependent.\u003c\/p\u003e\n\n\u003cp\u003eNevertheless, it still makes sense to release the soundtrack without the images. The tracks on “\u003cem\u003eSlow Motion\u003c\/em\u003e” vary in length (the shortest is only 58 seconds long) and mood, but the listener never has to leave \u003cstrong\u003eSchnitzler\u003c\/strong\u003e’s sonic universe, even without the pictures for which the music was composed.\u003c\/p\u003e\n\n\u003cp\u003e“\u003cem\u003eSlow Motion\u003c\/em\u003e” is an important document in \u003cstrong\u003eSchnitzler\u003c\/strong\u003e’s oeuvre, seamlessly taking its place alongside his many other releases, whilst also highlighting his constructive input as an equal partner in an experimental film production. What makes “\u003cem\u003eSlow Motion\u003c\/em\u003e” particularly worth listening to is the fact that \u003cstrong\u003eSchnitzler\u003c\/strong\u003e surrenders none of his aesthetic independence at any point in the project. It is an enduring document of its time.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eAsmus Tietchens\u003c\/strong\u003e, 2024\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black LP","offer_id":50415569731915,"sku":"2189574","price":30.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50415567667531,"sku":"2189570","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/zW4HBrko_02293049_thumbnail_4096.jpg?v=1726691287"},{"product_id":"contempora","title":"Contempora","description":"\u003cp\u003eConrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967 \/6 8, 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. 'Contempora' is a sort of collection of sketches, reflecting Schnitzler's inexhaustible creative powers in condensed form. 'Contempora' again underlines Schnitzler's noble ethos. On Bureau B.Digipack CD with eight bonus tracks180 Gram Vinyl.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":50417288741195,"sku":"363070","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/d5cad47e-8e91-4e33-a868-8a9008088820_thumbnail_4096.jpg?v=1726724677"},{"product_id":"blau-2","title":"Blau","description":"\u003cp\u003eConrad 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 and Stockhausen, 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 blue album from 1974 and was Schnitzler’s second solo LP. On the red album, Conrad Schnitzler laid down the direction his musical artistry would take. The blue album (“Blau”) offered confirmation of his intent. Maybe the “Rot” and “Blau” tracks were recorded in the same session. 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 album’s 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 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. Tracklist A1 Die Rebellen haben sich in den Bergen versteckt B1 Jupiter\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Blue LP","offer_id":50437683380555,"sku":"2194207","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_764d46cd_thumbnail_4096.jpg?v=1726933752"},{"product_id":"gold","title":"Gold","description":"\u003cp\u003eLike the silver album the golden album is a song collection from Schnitzler's archive. The \"golden\" collection has been recorded between 1976 and 1978, originally released (on CD only) by the German label Marginal Talent in 2003. 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.\u003cbr\u003e\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black | LP","offer_id":50438637093195,"sku":"1158624","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/d57751ae-0f1a-4594-b7eb-f13d480566a1_thumbnail_4096.jpg?v=1726946085"},{"product_id":"blau","title":"Blau","description":"\u003cp\u003e180 gram vinyl with download. 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 and stockhausen, 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 blue album ('blau') from 1974 was schnitzler's second solo lp.\u003c\/p\u003e","brand":"No Label","offers":[{"title":"LP","offer_id":50438637814091,"sku":"351407","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e22485e4-b63b-4574-80dc-a82cfcae319f_thumbnail_4096.jpg?v=1726946105"},{"product_id":"rot-3","title":"Rot","description":"\u003cp\u003e180 gram vinyl with download. \u003cstrong\u003eConrad Schnitzler\u003c\/strong\u003e (1937 - 2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Beuys and Stockhausen, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967\/68. He was a member of \u003cem\u003eTangerine Dream\u003c\/em\u003e (together with Klaus Schulze and Edgar Froese) and \u003cem\u003eKluster\u003c\/em\u003e (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The Red Album ('Rot') from 1973 was Schnitzler's first solo LP.\u003c\/p\u003e","brand":"No Label","offers":[{"title":"LP","offer_id":50438666912075,"sku":"351405","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2b3d4648-32c6-46ba-8c82-6059b348466a_thumbnail_4096.jpg?v=1726946526"},{"product_id":"rot-4","title":"Rot","description":"\u003cp\u003eConrad 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 and Stockhausen, 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 red album (\u003ci\u003eRot\u003c\/i\u003e) from 1973 was Schnitzler's first solo LP.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Red LP","offer_id":50449317953867,"sku":"2048539","price":31.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50449316708683,"sku":"351404","price":16.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/58dbdc01-7620-4e4a-9e4d-3a71f412784c_thumbnail_4096.jpg?v=1727101409"},{"product_id":"blau-1","title":"Blau","description":"\u003cp\u003edigipack cd with six bonus tracks. 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 and stockhausen, 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 blue album ('blau') from 1974 was schnitzler's second solo lp.\u003c\/p\u003e","brand":"No Label","offers":[{"title":"CD","offer_id":50462809194827,"sku":"351406","price":15.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/d861ece3-86f9-4c4b-8337-ae0860752963_thumbnail_4096.jpg?v=1727259802"},{"product_id":"consequenz-ii","title":"Consequenz II","description":"\u003cp\u003eComposer 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. \u003ci\u003eConsequenz II\u003c\/i\u003e emerged from a collaboration with Wolfgang Seidel alias Wolf Sequenza, and is the follow-up project to \u003ci\u003eConsequenz\u003c\/i\u003e which was a low-budget production that had an overriding aim of liberating music from its elitist circles in a 'Beuys-ian' sense. \u003ci\u003eConsequenz II \u003c\/i\u003ereturned to the theme with electronic apparatus that professionalised the sound but by no means reduced the fun he found in experimentation. \u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":50463963185483,"sku":"1152298","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50463965118795,"sku":"1152297","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/c66369cd-6890-4e14-907b-dbc729fa53a1_thumbnail_4096.jpg?v=1727269138"},{"product_id":"con-3","title":"Con 3","description":"\u003cp\u003ewith his sixth regular album, released in 1981, the avant-garde artist \/ musician conrad schnitzler seemed to dive deeper into 'commercial territory' (he even sings!). 'con 3' might have sounded rather disconcerting to schnitzler listeners at the time. he dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. 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. this reissue comes with liner notes, rare photos and six bonus tracks.\u003c\/p\u003e","brand":"No Label","offers":[{"title":"CD","offer_id":50470871826763,"sku":"355001","price":16.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/dc32527e-6e1f-4f63-afdc-db8b148a44a6_thumbnail_4096.jpg?v=1727384472"},{"product_id":"con-struct-3","title":"Con-Struct","description":"\u003cp\u003eWho is \u003cstrong\u003eConrad Schnitzler\u003c\/strong\u003e? \u003cem\u003eConrad Schnitzler\u003c\/em\u003e (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph 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.\u003c\/p\u003e\n\n\u003cp\u003eWho is \u003cstrong\u003eSchneider TM\u003c\/strong\u003e? \u003cem\u003eSchneider TM\u003c\/em\u003e has been involved in various musical fields since the late 1980s. Between 1989 and 1997 he played and sang in indie\/noise rock and pop bands like Locust Fudge and Hip Young Things, before focusing more on electronic music from 1997 onwards, starting up his project \u003cem\u003eSchneider TM\u003c\/em\u003e. In 1999 Dresselhaus formed the duo Angel together with Ilpo Vaisanen.\u003c\/p\u003e\n\n\u003cp\u003eWhat is the concept of the \u003cem\u003eCon-Struct\u003c\/em\u003e series? \u003cstrong\u003eConrad Schnitzler\u003c\/strong\u003e 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 Jens Struver, the producer of the \u003cem\u003eCon-Struct\u003c\/em\u003e series, was granted access to this audio library at the outset of the 2010 decade, he came up with the idea of constructing new compositions, not remixes, from the archived material. On completion of the first \u003cem\u003eCon-Struct\u003c\/em\u003e album, he decided to develop the concept into a series, with different electronic musicians invited into \u003cstrong\u003eSchnitzler\u003c\/strong\u003e's unique world of sound.\u003c\/p\u003e\n\n\u003cp\u003eA few words from \u003cstrong\u003eSchneider TM\u003c\/strong\u003e on his constructions? \"I am very happy and honored to be invited to do an album for the \u003cem\u003eCon-Struct\u003c\/em\u003e series and wanted to do something special and genuine in this posthumous collaboration with \u003cstrong\u003eConrad Schnitzler\u003c\/strong\u003e. I wanted to get as close to his spirit as possible, so I created a musical situation as if we were actually collaborating together in the same room, with \u003cstrong\u003eConrad\u003c\/strong\u003e playing his pre-recorded sound-files or modular system and me dubbing and processing it live on the fly... almost as if it was a live-concert situation. Next to many other aspects of \u003cstrong\u003eSchnitzler\u003c\/strong\u003e's vast oeuvre, I am fond of the noisy, polyharmonic, polyrhythmic and sometimes quite humorous minimalism of his music, as well as his way of using chance, which often leads to magical and raw beauty. There are no other sounds on this record except for ones created by \u003cstrong\u003eSchnitzler\u003c\/strong\u003e, sent through my system and processed live. During the sessions I had the feeling of being in a conversation with him. And when I met his widow, Gisela Schnitzler, she told me that they still talk every evening, more than five years after his death, and that he's still around for sure. So, \u003cstrong\u003eConrad\u003c\/strong\u003e, thanks a lot for this experience! 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On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into \u003cstrong\u003eSchnitzler's\u003c\/strong\u003e unique world of sound.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":50473222996299,"sku":"1096205","price":13.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50473223356747,"sku":"1096206","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/304f2d93-988e-42ba-9453-72556d32dead_thumbnail_4096.jpg?v=1727427493"},{"product_id":"con-84","title":"Con 84","description":"\u003cp\u003eComposer and conceptual artist \u003cstrong\u003eConrad Schnitzler\u003c\/strong\u003e (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany.\u003c\/p\u003e\n\n\u003cp\u003eIn 1967\/68, the \u003cem\u003eJoseph Beuys\u003c\/em\u003e student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture.\u003c\/p\u003e\n\n\u003cp\u003eIn addition to many other musical stations, bustling Schnitzler was a member of the Kraut-Electronic formations \u003cstrong\u003eTangerine Dream\u003c\/strong\u003e and \u003cstrong\u003eKluster\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp\u003eNumerous solo releases complete his extensive oeuvre. One of them is \u003cem\u003eCon 84\u003c\/em\u003e, probably his most composed work, on which he challenges the traditions of so-called Ernste Musik.\u003c\/p\u003e\n\n\u003cp\u003eThe 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","brand":"Bureau B","offers":[{"title":"CD","offer_id":50476186370379,"sku":"1152299","price":13.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50476186698059,"sku":"1152300","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/f3df0833-897a-4963-af4c-aaa5a220876c_thumbnail_4096.jpg?v=1727455281"},{"product_id":"con-struct","title":"Con-Struct","description":"\u003cp\u003eConrad Schnitzler is one of the great pioneers of electronic music. 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. 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 “avantgardism”. As an acolyte of action and object artist Joseph Beuys, Schnitzler embraced the former’s “extended definition of art”, in which controlled randomness assumed an important role. Schnitzler actually extended the concept of “music”. Or to put it another way: he cared not one iota for existing rules of music, preferring to create his own or conceptualizing a certain degree of lawlessness. In the first half of the 80s young pop musicians discovered the true potential of Schnitzler’s radical musical con - cept. Henceforth, his name was quoted with increasing regularity in the same breath as industrial, new wave and other experimental music genres of the 1980s. 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. \u003c\/p\u003e\u003cp\u003eAbout Baal and Mortimer \u003c\/p\u003e\u003cp\u003eSince 2014 Baal and Mortimer is the project of Alexandra Grubler, sonically exploring questions of resistance, autonomy, matter and speculation. The debut album Deixis was released on Bureau B in 2020 and the EP The Torso Tapes on ITALIC in 2021. In the same year she released the 7” single And the Sky gave up the Dead for the Kunsthalle Dusseldorf exhibition Journey through a Body. After having gained an M.A. in aesthetics and philosophy, she currently lives in Berlin, researching the concrete potentialities between sound, language and body. Baal \u0026amp; Mortimer has worked with Black Merlin, Musiccargo and Rupert Clervaux and was the mentee of Laurel Halo in the Berlin Amplify program in 2018.\u003c\/p\u003e\u003cp\u003eBaal and Mortimer on her Con-Structions \u003c\/p\u003e\u003cp\u003eConrad Schnitzler’s music came to me first in Dusseldorf at Salon des Amateurs, roughly 2007 or 2008, most definitely in the early morning hours, in the shape of his track Das Tier. I remember his name coming up quite a bit, deeply routed in a specific experimental\/Kraut discourse and I liked listening to his records, but working with his archive added an entirely different, physical intensity. Instead of reworking the material on its own, I chose to find traces of melodies, harmonies, notes within it, using them as seeds to add and derive new compositions. Schnitzler’s archive became the foundation and departure point from which a process of accumulation and chiseling away started. Through playing things on wrong speed, stretching, or warping, fractal structures appeared, one unfolding out of the previous one, almost like chaos magick set in motion. I tried to internalise his work mode of not having any rules before the first note is played, no key, no metre, just following through with the evolving linearity of the sound.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":50476695650635,"sku":"1163111","price":14.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50476696240459,"sku":"1163112","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/6bb71456-3a24-48db-861c-4d2786e1b3f8_thumbnail_4096.jpg?v=1727462613"},{"product_id":"conrad-and-sohn","title":"Conrad and Sohn","description":"\u003cp\u003eConrad Schnitzler is undoubtedly one of the founding fathers of German electronica. And his son, Gregor Schnitzler, matched the father's 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 features music by Conrad, the other his son Gregor. Two mini albums on one disc, so to speak. Father and son offer up drastically opposing musical concepts to our ears. On Bureau B with liner notes by Asmus Tietchens.180 Gram Vinyl.CD version with five extra tracks.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":50525746528587,"sku":"363062","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/68b67663-a7c3-4196-9a25-ac8b11177eef_thumbnail_4096.jpg?v=1728036451"},{"product_id":"paracon-the-paragon-session-outtakes-1978-1979","title":"Paracon (The Paragon Session Outtakes 1978-1979)","description":"\u003cp\u003eConrad 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\u003ci\u003e Consequenz \u003c\/i\u003ealbums, amongst others. I had the honour 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\u003ci\u003e Con, Consequenz \u003c\/i\u003eand \u003ci\u003eCon 3 \u003c\/i\u003ealbums, featuring such wonderful pieces as \u003ci\u003eFata Morgana, Coca\u003c\/i\u003e and \u003ci\u003eAuf dem schwarzen Kanal.\u003c\/i\u003e 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 10th piece is my personal favourite, 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.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black | LP","offer_id":50526958977355,"sku":"1107817","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50526957896011,"sku":"1107816","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/6473d9a4-58a7-4edf-b56d-1fa8855463de_thumbnail_4096.jpg?v=1728050032"},{"product_id":"grun","title":"Grun","description":"\u003cp\u003eThe green album concluded Schnitzler's 'monochrome' album series (red\/1973, blue\/1974 and yellow\/1974\/1981). Schnitzler's 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. The borders between Schnitzler's creative periods are too nebulous to be sure that the green album represents the coda of his 70s music. Still, Schnitzler's musical essence of the decade is in evidence as aural concentrate on both tracks of the green album. Not, however, as a recapitulary review, but as a foundation, fertile ground in which his art would thrive in the decades which followed.LP - 180 Gram vinyl.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black | LP","offer_id":50526974705995,"sku":"381832","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50526974837067,"sku":"1106055","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/3a1399df-c149-4e0c-900a-7ce40dc434af_thumbnail_4096.jpg?v=1728050171"},{"product_id":"auf-dem-schwarzen-kanal","title":"Auf Dem Schwarzen Kanal","description":"\u003cp\u003e\u003ci\u003eAuf Dem Schwarzen Kanal \u003c\/i\u003eis one of the most outstanding, most sought-after releases in Conrad Schnitzler’s extensive catalogue. 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.\u003cbr\u003e\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black 12\"","offer_id":50527107875147,"sku":"1100293","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/c61c3064-012a-4d35-a4b2-ac406a38020a_thumbnail_4096.jpg?v=1728051759"},{"product_id":"filmmusik-1","title":"Filmmusik 1","description":"\u003cp\u003eIn Conrad Schnitzler's 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 isn't 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 us by Schnitzler's musical partner for many years and guardian of the archive, Wolfgang Seidel. 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 we recognize certain 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 (Populre Mechanik, Ton Steine Scherben) talks more about Schnitzler's life and work in the liner notes.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":50531085058379,"sku":"1002033","price":16.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/11bcdfc7-2af2-4bcf-b693-9a66e7fd904f_thumbnail_4096.jpg?v=1728093339"},{"product_id":"gelb-50th-anniversary-1","title":"Gelb (50th Anniversary)","description":"\u003cp\u003eLimited Anniversary Edition: embossed, reverse board, hand numbered, 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 (“The Black Cassette”). The chronology of Schnitzler’s 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 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":"Yellow LP","offer_id":50820429939019,"sku":"2231795","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_420d6b2e_thumbnail_4096_be5f7b08-35ac-451d-b282-57fe189dbb5b.jpg?v=1731434031"},{"product_id":"convex-pf","title":"Convex","description":"\u003cp\u003e\u003cem\u003eConvex\u003c\/em\u003e is one of a series of LPs that Schnitzler released himself in the 1980s. Some of the covers of these LPs contain useful information such as track titles, instruments, date of origin, et cetera. Sometimes the LPs also come with DIN A4 or other format sheets printed with text and artwork. “Convex,” however, is one of Schnitzler's LPs that convey virtually no visible information. Only the title is printed in large letters on the cover of “Convex,” and in tiny letters that are easy to overlook, it says: “Cover Conrad und Richard.” The labels on the original LP indicate that one side is called ‘Convex’ and the other “Concav.” That's all the information there is. On “Convex,” as on many of his other albums, Schnitzler definitely used a sample-and-hold generator (S\/H generator), a device that converts sounds stored as desired into random sequences of tones. This is important to know because this album is also non-keyboard music, i.e., it was not played ‘by hand’; instead, the experimental setup is: synthesizer – sequencer – S\/H generator. Whether Schnitzler could foresee the respective results for each piece or whether he let himself be surprised is uncertain. But I believe he let himself be surprised and decided in each case whether to accept the result or not. Because one of the cornerstones of his artistic concept is controlled chance. However, it is not this method that makes “Convex” so special, but the slow tempo of the music. With one exception, the other pieces are almost sluggishly slow. Schnitzler certainly never had ambient music in mind, as his music is defined throughout by transparency and dynamic movement. However, “Convex” does meet some of the criteria defined by Eric Satie for “musique d'ameublement” and also the concept of “ambient” further developed by Brian Eno: its calmness and apparent uniformity – both of which require no attention and yet are a pleasant addition to the atmosphere of a room. A prerequisite for this, however, is a discreet volume level. Schnitzler would probably turn in his grave if he knew that I was placing his music in the vicinity of ambient. And of course it's not ambient. With “Convex,” Schnitzler remains consistently true to himself. The only unusual thing is that he experiments with “slowness” here. Schnitzler has carefully faded out some pieces, even though they are suitable for filling an entire LP side. If I were to stick with my thought experiment, this would be another characteristic of ambient music.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eConvex\u003c\/em\u003e raises questions that cannot be answered with certainty. But that is precisely why Schnitzler's music remains so interesting. No one has the authority to interpret it; every listener can and should let their imagination run wild, because Schnitzler never gave any listening instructions. And it's impossible to misunderstand Schnitzler: either you understand him or you don't. There is no in-between. Asmus Tietchens, 2025\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":55905782301003,"sku":"R5019-2786","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Black","offer_id":55905782333771,"sku":"R5019-0917","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/zCl3sYho.jpg?v=1763126419"},{"product_id":"control-oj","title":"Control","description":"\u003cp\u003e\u003cem\u003eControl\u003c\/em\u003e was created during a phase of Schnitzler's work in which his friendship with Peter Baumann (formerly of Tangerine Dream) allowed him to try out and use new electronic sound generators and peripheral technologies. He never used these innovations merely for their own sake, but always put them at the service of his artistic flair for experimentation. His signature style is clearly recognizable on “Control”. The album seems to be a kind of compilation of different musical approaches. Tracks 5 and 9, for example, are classic Schnitzler: sparkling cascades of electronic sound particles, interspersed with longer and shorter glissandi, constant movement in all directions. But then there are tracks 1, 8, 11, and 12 – and here I can only speculate – where it seems as if Schnitzler wanted to combine a few elements of traditional harmony with his own sound aesthetic in these pieces. And why not? He was completely undaunted by new things. Most important was that the music remained within the framework of his strict overall concept. There is no spacing between the tracks on the original LP, released in 1981 by the DYS label in the US. The A and B sides are originally titled simply ‘Control A’ and ‘Control B’, and the thirteen pieces are strung together without interruption. Strange.\u003c\/p\u003e\n\u003cp\u003eAbout half of the tracks on \u003cem\u003eControl\u003c\/em\u003e are apparently faded in and\/or out. This could indicate that Schnitzler either drew on “overlong” archive material to extract passages suitable for the album, or that he shortened the newly recorded music. Speculation is pointless – we can no longer ask Schnitzler. In any case, he opted for relatively short pieces averaging three minutes in length, some even shorter, others a little longer. All in all, this creates the impression of sketches. Sketches with sharply defined contours, however: as with almost all his albums, Schnitzler gives us listeners clear information about where he currently resides in his musical universe. For Schnitzler, too, the journey was its own reward, and there were many stops “on the way to the complete Schnitzler”; he never lingered at any of them for long. His artistic restlessness and curiosity were his lifeblood. And to stay with the metaphor, “Control” is a strong dose of that elixir. Asmus Tietchens, 2025\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP - Black","offer_id":55905782464843,"sku":"R1302-1860","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":55989883797835,"sku":"R1302-2946","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/7WutD45K.jpg?v=1763126583"},{"product_id":"conal-dm","title":"Conal","description":"\u003cp\u003eWhen \u003cem\u003eConal\u003c\/em\u003e was released in 1981 on the Norwegian independent label Uniton Records with an initial run of 4,000 LPs, Schnitzler had already long been known beyond the borders of the Federal Republic of Germany and was now appreciated worldwide as a media artist and musician. In addition to the many cassette and LP editions he released himself, international labels were now increasingly releasing his music. In the same year as \u003cem\u003eConal\u003c\/em\u003e, for example, the album \u003cem\u003eControl\u003c\/em\u003e was released on the American label DYS, followed in 1986 by \"Concert\" in the USA and \"Consequenz 2\" in Spain. Schnitzler worked tirelessly and his total work of art, including his music, was becoming increasingly multifaceted. \u003cem\u003eConal\u003c\/em\u003e is a good example of this development. The titles of almost all Schnitzler albums begin with the syllable Con..., which is usually supplemented by a meaningful second syllable. \u003cem\u003eConal\u003c\/em\u003e seems to be an exception, because what sense does the syllable ...al make in connection with Con...? \"Conal\" could more likely be the product name for a medicine or a wood glue. How did Schnitzler come up with this strange LP title? We don't know. And anyway, more important than this question is the music on the album, which also has something unusual for Schnitzler. The two tracks, each around 21 minutes long (\"N1\" and \"N2\"), are not cast from the same mould, but consist of several parts blended together, which are not noted as such in the credits. This sequence creates the character of a narrative divided into several chapters, which, however, does not offer the listener a concrete plot. Schnitzler was not a storyteller. When he divides long pieces into clearly distinguishable sections, as he does here in \u003cem\u003eConal\u003c\/em\u003e, it is in order to create a kind of panoramic view of his current work phase in condensed form. The complexity of the individual sections and the extraordinarily skilful and technically flawless crossfades and layering suggest that \u003cem\u003eConal\u003c\/em\u003e was once again produced in Peter Baumann's studio. Although the good relationship between the two musicians never led to a musical collaboration, Baumann repeatedly made his extremely well-equipped Paragon Studio available to Schnitzler. It is also conceivable that Baumann and his brilliant sound engineer Will Roper provided useful technical suggestions for the realisation of Schnitzler's music. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eConal\u003c\/em\u003e is one of those albums that, when it was released in the early 1980s, astonished Schnitzler listeners in a positive way: Schnitzler had once again dared to take an artistic step forward. It is hard to comprehend that this restless, uncompromising artist released one high-calibre album after another in relatively quick succession. For he was not only a musician, but also a media artist, performer and author of art theory texts. Fortunately, \u003cem\u003eConal\u003c\/em\u003e is one of the treasures from his catalogue of works, and I have already asked elsewhere: How many other treasures are waiting to be rediscovered? The grand mosaic that is Schnitzler still has gaps, even when the contours are clearly visible.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":57551114731851,"sku":"R2482-9531","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Black","offer_id":57551114764619,"sku":"R2482-0125","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/p_545c31d5-e3c1-4505-88a8-fe468c81f8a4.jpg?v=1781110001"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_f0ca9044_thumbnail_4096_7d86c38c-b5b0-4a98-840e-8d6122177bb9.jpg?v=1726272634","url":"https:\/\/shop.roughtrade.com\/collections\/conrad-schnitzler.oembed","provider":"Rough Trade","version":"1.0","type":"link"}