CON 3

Very cold and mechanical electronic wave. For me it's simply one of the most controversial Schnitzler's essays. In one sentence this album is dangerous and not for everyone's ears. I don't enjoy listening this album despite that I'm a huge Schnitzler fan. His inspired abstract and freak out droning soundscapes / radiant synth chords are totally absent. The musical picture is turned to futurist and robotic sounds with electronic noises and speeches. It sounds very dated contrary to a large part of his production. However we can hear some strange but nice melodies with full colours of industrial landscapes. "Kohlen" is a deranged track made of collage sounds, repetitive synth lines, doom bass pulsations and voices. "Nachte In Kreuzberg" is a humorous composition for machines, repetitive pulses and Teutonic recitations. "Hongkong" features drum machines, druggy indulgent voices and ambient sounds for a mechanical-psycho trip. "Coca" is closed to Kraftwerk (The man machine period) with its simplistic electro-pop melody, cold repetitive voices and its great dose of humour..."Das Tier" remains CON3 typical signature with its mechanic electronic phases, crazy narratives and evident sense of derision. We can regret the predominance of vintage computer sounds that makes this album slightly hard to digest. There's nothing organic or human here. Totally non essential, only recommended for extreme Schnitzler's fans.

Very strange and simplistic electronic music on this CS album! To be sincere, this is my first and only CS album by now in my whole progressive music collection. The album doesn't require many auditions to understand it. All the 9 tracks are composed on the same framework: pure rhythmic electro-pop drums and repetitive keyboards themes. The voice keeps speaking and speaking again as the rhythm is flowing.

There is no complex music signatures, no chords, no atmospheric landscapes. There are some similarities between this album and Kraftwerk's Radioactivity, especially on the last 2 songs; however the album is, IMO, very simple and weak. I admire the idea of CS to develop this kind of experimental electronic music ( I mean the electro-pop style), but there must be left an open door to the ingenuity and complexity in this kind of music.

Hardly, I can find a favourite song. The last 2 tracks, especially the last one Tanze Im Regen, are a little bit interesting and representative for the electronic music scene. Recommended only for Conny fans!!!

I've heard around 25 Schnitzler albums and this is one of the few tuneful entries in his entire catalogue. The 'Neue Deutsche Welle' style which was all the rage with bands like D.A.F. is what's on offer here, and it's none the worse for it.

'Con 3' is as close as old Conrad ever reached to a mainstream audience. That's to say - he had no chance of accumulating a captive audience whatsoever. Not a snowball's chance in hell.

Luckily I'm one of those guys who loves hearing Europeans singing in their mother tongue. It's far more convincing and puts you in the alien environment of Europe in 1981 from a British point of view. In that era we had Adam and the Ants (Woo Hoo!), Duran Duran and a host of New Romantic outfits. 'Con 3' is as cold and opposite to those bands as you could possibly imagine. Analogue synths are sliced and diced like a chef chopping onions. It's SO German. The icily treated vocals are very similar to the Stranglers 'Meninblack' from 'The Raven' released during the same year.

The drum programming is appealing in it's Kraftwerk-like style. I have to admit though, that Conrad sounds like he's the last guy standing at a party at 4.00am and has suddenly switched on all the electronics, with eyes lit up, and just for a laugh decides to record everything from that point on. Personally I love that kind of stuff. His ramblings of 'Coca-Cola and no water' on 'Coca' are almost easy listening with a (rub your eyes in disbelief) a tuneful dub bass and marimba played Jamaican style!

There's squelchy keyboard sounds and bendy bass tremblings throughout. A lot of it sounds quite tinny and amateurish but 'Con 3' captures that German electronic 'chill' from '81. It's without the production values of a Kraftwerk or Tangerine Dream but hits all the right buttons in 2017 due to its inherently German coldness.

It's all shoddy robotic nonsense of course, and for that reason itself, makes it enjoyable. If I was listening to this in 1981 I would have smashed the vinyl into pieces in a rage of anger. Now, over 30 years later, I have a feeling of nostalgia and appreciation for a time where music was purely analogue and genuine.