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CONRAD SCHNITZLER

Progressive Electronic • Germany


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Conrad Schnitzler biography
Conrad Schnitzler is a multi (inter) media German artist (photograph, cello player.). His first interest in music was orientated to krautrock radical musical experiences. After studies in modern art (Dusseldorf) under the direction of the fluxus artist & designer Joseph Beuys, Conrad went to Berlin and met Hans Joachim Roedelius in 1967. They founded together the "Zodiak Free Arts" club (1969), a place devoted to experimental, electronic music with numerous improvised concerts. All the Berlin underground scene was represented. After several concerts played with Edgar Froese and Chris Franke, Conrad Schnitzler played the cello in the first Tangerine Dream album (published on ohr label). C. Schnitzler became more and more interested in electronics added to conventional instruments (violin, piano, cellos.). For this reason he formed the band "Eruption" with a few krautrockers (Klaus Schulze.). In 1969, he integrated the experimental Kluster (founded by Moebius & Roedelius). Two solid albums for feedback, amplifiers, acoustic instruments and narrative voices have been recorded. These efforts have been signed by the engineer Conny Plank: "klopfzeichen" (1970) / "Zwei Osterei" (1971). Immediately after his departure from Kluster, Schnitzler decided to pursue his career in solo, going further in experimental, improvised electronic music. He first recorded two classic albums: Rot (1972), Blau (1973). The music is full of intriguing electronic patterns, tape manipulations and moody experimental sounds. A very physical, cerebral experience. After several concerts notably in modern Art Galleries, Conrad released his "CON" project. He introduced himself as a "performer of sounds", making experimentations both for music and videos. The first "CON" album released in 1978 features improvisations for synth and electronic effects. With his son Gregor he recorded the album "Conrad & Sohn" in 1981. "CON 3" put the stress on the modern, rhythmical side of his music. Next to his solo production Conrad participated to many projects with others musicians ("Consequenz" published in 1980.). All these recordings are rather private, published in a relative discretion. Recently, a few albums have been reissued under compilations, notably "GOLD" and his most popular effort "Ballet Statique" (several compositions taken from "CON"). Today, Conrad Schnitzler pursues his career in high quality experimental electronic music with new albums ("00/44 published in 1998, Conal 2001.) and coll...read more

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GrunGrun
Bureau B 2014
Audio CD$12.59
$20.28 (used)
RotRot
Bureau B 2012
Audio CD$15.24
$11.99 (used)
GelbGelb
Bureau B 2014
Audio CD$12.59
$7.99 (used)
Con 3Con 3
Bureau B 2012
Vinyl$23.68
Ballet StatiqueBallet Statique
M=minimal 2012
Audio CD$16.49
CongratulacionCongratulacion
Bureau B 2014
Audio CD$12.58
$19.81 (used)
SilberSilber
Bureau B 2013
Audio CD$12.78
$17.97 (used)
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CONRAD SCHNITZLER Congratulacion (LP) (180 grm vinyl) (Kluster / Cluster) USD $25.00 Buy It Now 7h 22m
Conrad Schnitzler Control 1981 33RPM European Import VG+ USD $39.00 [0 bids]
USD $59.00 Buy It Now
9h 44m
Silber - Conrad Schnitzler (2013, CD New) USD $17.88 Buy It Now 22h 9m
Gold - Conrad Schnitzler (2013, CD New) USD $17.88 Buy It Now 1 day
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CONRAD SCHNITZLER "Con 3" (LP) (180 gram vinyl) (Kluster / Cluster) USD $28.00 Buy It Now 16 days
CONRAD SCHNITZLER Silber (LP) (180 gram vinyl) (Kluster / Cluster ) USD $28.00 Buy It Now 16 days
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Conrad Schnitzler ?- CONAL Norway rare orig' Uniton LP 1981 USD $79.99 Buy It Now 16 days
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Gregor Conrad Schnitzler ?- Conrad & Sohn German rare orig' #500 PRIVATE LP 1981 USD $99.99 Buy It Now 16 days
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CONRAD SCHNITZLER: Rot (rock & pop vinyl LP) USD $20.00 Buy It Now 21 days
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CONRAD SCHNITZLER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

CONRAD SCHNITZLER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.17 | 6 ratings
Schwarz (Eruption)
1971
2.00 | 3 ratings
Con '72
1972
4.34 | 9 ratings
Zug
1973
3.26 | 14 ratings
Rot
1973
3.47 | 11 ratings
Blau
1974
4.20 | 18 ratings
Ballet Statique
1978
2.13 | 5 ratings
Auf dem schwarzen Kanal
1980
3.92 | 4 ratings
CONAL
1981
2.06 | 4 ratings
Con 3
1981
3.00 | 1 ratings
Control
1981
3.98 | 6 ratings
Gelb
1981
4.00 | 6 ratings
Grun
1981
3.00 | 1 ratings
Convex
1982
3.00 | 1 ratings
Convex
1985
3.00 | 1 ratings
Congratulacion
1987
3.00 | 2 ratings
Constellations
1987
3.00 | 1 ratings
Con Brio
1993
3.00 | 2 ratings
Blue Glow (The Cassette Concert Series No.1)
1994
4.70 | 4 ratings
Electronegativity - The Cassette Concert Series No.3
1995
3.95 | 3 ratings
Charred Machinery
1995
2.00 | 3 ratings
00/44
1997
3.00 | 3 ratings
Contakt
2003
1.50 | 2 ratings
Electrocon
2006
3.00 | 1 ratings
Hirschgebrüll (& Bjørn Hatterud)
2011
3.00 | 2 ratings
24/06/11
2011
3.00 | 2 ratings
Zug - Reshaped And Remodeled
2012

CONRAD SCHNITZLER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

CONRAD SCHNITZLER Videos (DVD, Blu-ray, VHS etc)

CONRAD SCHNITZLER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.87 | 4 ratings
Gold
1974
3.85 | 4 ratings
Silber
2013

CONRAD SCHNITZLER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.91 | 2 ratings
Slow Motion
2010

CONRAD SCHNITZLER Reviews


Showing last 10 reviews only
 CONAL by SCHNITZLER, CONRAD album cover Studio Album, 1981
3.92 | 4 ratings

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CONAL
Conrad Schnitzler Progressive Electronic

Review by admireArt

4 stars Unorthodox electronic industrial meditations.

I suppose, this is as close as Conrad Schnitzler, will get to the so visited "New Age" kind of electronic music. But this musician has always kept a safe distance, even from the average "space progressive/electronics", due to his preference for "raw" experimentation, rather than sweetly over-detailed and over-produced recordings. This "trademark" sound, has always distinguished him aside from ALL his Prog/Electronic peers.

In this particular 1981 "CONAL" release, he presents two long timed compositions (around 20 minutes each), in the true manner of TD or K. Schulze famous works. But the resembles stop there. Mr. Schnitzler well aquainted in those years with the ups and downs of technology, never ceased to explore the most "primitive' side of electronics, in the same spirit as the 1930's electronic music pioneers who did not wanted electronic "sounds" to resemble already existing instruments, but be seen and heard as "new" musical instruments. Inevitably, industry and technology developed simultaneously, and so their "sounds".

Conrad Schnitzler music, always stood close to that 1930's ideal. "CONAL" as such is a "minimalistic/epic" effort in this tenor and a perfect excuse to display his talents, merged into two single, long sized compositions, which he fills to the brim with non-musical "sequenced" noises and "atmospheric-like" sounds. The result is astounding as it is dynamic and inviting.... As it leaves you wanting for more. More of this kind of Conrad Schnitzler's electronic "meditations".

****4 PA stars. "Essential" for those who follow this Prog sub-genre!

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 Gelb by SCHNITZLER, CONRAD album cover Studio Album, 1981
3.98 | 6 ratings

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Gelb
Conrad Schnitzler Progressive Electronic

Review by admireArt

4 stars Dirty drum boxes, imaginative synth riffs and noises, plus a subtle pre- "punk" attitude, add up for great electronics!

Another Conrad Schnitzler work, with a low-profile "artwork" cover. Probably as ground breaking as his "Ballet Statique" (1978), which is also a personal favorite. "Gelb" meaning yellow, as the flat yellow color of your edition, depending on its date of re/issue. Schnitzler's albums usually go through a lot of re-editions, this one was originally released as "The Black Cassette", way back in 1974 & re-issued in 1981, as the "Gelb" album, I am reviewing.

The best of this project is its diversity of directions, without the endless experimental repetitions, (which he, more than once can be accused of releasing). Each piece has a unique identity, purpose and goal. Each song sounds like the result of experimentation, not the process of it. As usual, his electronics are "raw to the bone", yet his notion of musical composition and personal daring sense of performance, outweights again the limitations of the recording techniques and the "low-tech" electronic gadgets, available at the time. In fact its "roughness", sets it quiet close to today's electronic noise experimentations, without the emphasis on noise solely, of course.

Creative pieces of early prog-electronics, which are as simple sounding, as daring as timeless. The "world" each song suggests, is still something to rave on, even though its technical limitations, his songwriting skills make up for a very good electronic album.

****4 PA stars

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 Grun by SCHNITZLER, CONRAD album cover Studio Album, 1981
4.00 | 6 ratings

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Grun
Conrad Schnitzler Progressive Electronic

Review by admireArt

4 stars Welcome to the roots of dreamy industrial electronic prog.

Prog/electronic pioneer, Conrad Schnitzler, always had the knack of taking the less traveled routes to develop his personal musical language. That alone has led to a quiet vast experimentation within the borderlines of the prog/electronic sub-genre. But at the same time his "productions" rarely by themselves, are over produced or over worked. This up front way of performing and recording has its benefits and drawbacks.

GRUN a 1981 album (remastered in 2006), is inclined to the benefits and less to the wrongs. The first 32 minute long piece "Der Riese Und Seine Frau" is full of pre-noise/industrial, "african-like" drumming, that conjures up for a very ritualistic electronic journey. There is no subtle intention in the use of intense non-stop rhythmical progressions to either set you off or in. On the other hand the synth's flowing melody lines and atmospheres are truly inviting and a relief from the intense hypnotic trance, one eventually is trapped into.

"Bis Die Blaue Blume Blüht" the second composition, lowers the intensity of the drumming, in favour of a more joyful hypnotic trip. Its beauty resides mainly in its apparent melodic simplicity and the myriad of synth "effects" that detail the whole atmosphere of the song.

"Bonus" third track, "Bis Die Blaue Blume Blüht / 45", as its title implies, is a faster version of the preceding composition. Works as "bonus" nothing else beyond that.

Intense, minimalistic, intriguing and daring. Yet, its informal approach saves it from becoming something else but a straight forward step into the electronic-world of this musician's quest.

****4 "daring and unpretentious" PA stars. (Not really for everybody, but essential for those who dig this sub-genre).

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 Silber by SCHNITZLER, CONRAD album cover Boxset/Compilation, 2013
3.85 | 4 ratings

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Silber
Conrad Schnitzler Progressive Electronic

Review by admireArt

4 stars I have never been too fond of this kind of "Boxed Compilations", I have aquired some, by many artists, and they are by rule "uneven". Most of the times they have some rare "values", but out-balanced with minor efforts. I will have not gotten this "Silber", if it was not by chance. BUT I was proven wrong. This compilation, out shines, by far his "Container" (which is too much) or the very good "Trigger Triology" and its predesor "Gold". I come to think, that somehow, Mr Schnitzler, has been holding his best for this 2nd part of a compilation. To be honest, I can compare this work, to his best experienced later music. "Silber", compiles his work after his departure from TD, in search for an own identity in the music world. This compositions (1973-1975) were first released in 2009, in the form of an LP, this re-release on CD adds 3 new "bonus" tracks, and they turn to be the highlights, alonside songs 1,2,3 and 5, 4 is just good, a bit too "raw" by comparisson.

The best in this compilation in fact is his most structured music writing. Maybe his quest, at the time was more experimental, therefore I suppose this works were archived.

Anyway, if you want to sense all what was behind his "monolithic" musical structures, like "Zug", "Rot" and all, this is your best guide, and somehow it is even better in some ways than those.

****4 "essential" for electronic music followers. PA stars.

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 Slow Motion by SCHNITZLER, CONRAD album cover Singles/EPs/Fan Club/Promo, 2010
4.91 | 2 ratings

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Slow Motion
Conrad Schnitzler Progressive Electronic

Review by admireArt

5 stars The "missing link" appears at last. This 2010, 54 minutes/3-sided, 2 LPs album, was composed in 1972 as a "soundtrack", for an unreleased movie that same year. The same year as "Rot" was composed (released in 1973), one of his most favoured works. Why Conrad Schnitzler waited so long for this re-release, and making it almost impossible to aquire, in comparisson to other 'minor" works in his catalogue? That is the question. I do not know why.

Anyway, this work stands masterfully alongside, forget "Rot" or "Zug" even "Blau", this is the "missing link" from those to his excellent "Ballet Statique". Maybe because it was written for a film, his musical language travels through his most common "Dark/Bright" minimal tones, but eventually it turns out closer to the "dynamics" of "Ballet Statique", BUT without the "drum box" effect of it. Rhythm, when used, is supplied by "noise/like" electronic pulses, that being unmelodic, never resemble the "trademark" pulses of TD, of which he was once a member in their first incarnation "Electronic Meditations". (Therefore no "drum/box" or "tinker-bells", rhythmical silly melodic lines or "riffs" ).

That is just for starters, the song writing never loses the sense of being experimental, but everything sounds perfectly structured, composition wise. So, it makes me think, that being composed for 'images", the music was more a focused composition, than a mere electronic music "experiment" (there are no gaps or "silences" between songs) . Because of the same, the project travels through single short -timed songs( 3 to 6 minutes, more or less), in a variety of "different" electronic related styles, that convey to a greater musical effort, due to its "un-minimalistic" approach in the long run. This by turn, offers, in these works, a wide scope of "moods" in comparisson to his most known "minimal' musical structures. Opening the door of his own and others, eventual future works, composition wise.

Innovative, daring, emotional, unique, excellent compositions, compressed in a 3-sided album, that is a "must", for any "Electronic" music audiophile or creator, Prog or not.

Essential Masterpiece of the sub-genre and of "Prog" in general. *****5 PA stars!!

The wait is over.

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 Zug - Reshaped And Remodeled by SCHNITZLER, CONRAD album cover Studio Album, 2012
3.00 | 2 ratings

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Zug - Reshaped And Remodeled
Conrad Schnitzler Progressive Electronic

Review by admireArt

3 stars I must let myself be clear, "Zug" , in my opinion, was not the enormous work most followers think of. I was not or am a big fan of it. I think of it as a honest predecessor to "Ballet Statique" but no more. So when I aquired some of Conrad Schnitzler's other works, I was given this "ZUG", 2013 re-modeled version of it, as a gift.

It is said that Ricardo Villalobos and Max Loderbauer were so impressed by the original 1973 composition, that decided to give it a try and re-fuel it to more contemporary audiences. Their remixes have a rare respect for the original pieces, which enhances the minimalistic language into a more "trance" like dynamic, witholding the re-shaping into dance music, and more towards "electronic/art" music. Pole's remix is more experimental, but closer also to the original, my favourite is the re-mixed version of Borngräber & Strüver, which really re-model the structure, more with the vision of a DJ, and less of an "artist", without losing a single chance to re-write the tempo, but always sticking, to the hidden "riffs" this composition offers, when "transposed" through the realms of modern studios and their modern gadgets. The fifth remix is a "noise" re-shaping, closer to the sound of "CHROME" than that of Schnitzler's.

If you like "Zug" and are curious to find out some of its hidden secrets, these revisions done by contemporary artists will surely fit your whim. I myself will keep it , although I know It is not "essential" in my collection.

***3,5 PA stars.

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 Gelb by SCHNITZLER, CONRAD album cover Studio Album, 1981
3.98 | 6 ratings

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Gelb
Conrad Schnitzler Progressive Electronic

Review by Dobermensch

4 stars Old Conrad was really adventurous with some of his front covers wasn't he? Happily the sounds within are far more appealing. Proto industrial electronics are at play in this excellent instrumental recording from 1974 which finally saw the light of day in '81.

This is one of his more listener friendly albums if such a thing were possible. There's some sort of semblance of tune and construction on each of the tracks unlike a lot of his recordings which sound quite random in approach and execution. All are entirely electronic in nature, but more than likely, not in the way you've heard electronic music before if you're new to this type of sound.

Things kick off with a heavy and oppressive sequenced bunch of electronics - which pretty much sets out the stall of 'Gelb'. It's surprisingly heavy in atmosphere for a Schnitzler album. Antiquated drum machines phase in and out between tunes. You know the type - those 1973 ones that go: Tip, tip, thump, thump, tip, tip,thump, thump.

'Gelb' reminds me a lot of 'MB' - the Italian industrial artist from the early 80's. It's dark and oppressive throughout it's duration. Fans of Klaus Schulze's 'Cyborg' would do well to check this out.

Don't be put off by the sleeve, this is one of Schnitzler's best recordings amongst his huge catalogue.

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 Ballet Statique by SCHNITZLER, CONRAD album cover Studio Album, 1978
4.20 | 18 ratings

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Ballet Statique
Conrad Schnitzler Progressive Electronic

Review by admireArt

5 stars What really makes this work relevant besides its great abstract electronic music compositions, is also how well it holds with TIME. It has not aged, in fact in this "PE world' it never went away, just was born way ahead in 1978, the beginnings of the "Drum Box" era or the later called "80's". But those are just REFERNCES! It was born as "Con" then turned into "Ballet Statique" which is how it is more commonly named and known, in the quiet disrupted releases and re-releases, of Mr. Schnitzler discography. Focused compositions, which never lose their experimental nature, both in its aural and performance likes. Conrad Schnitzler never sounds pretentious, he holds this "electronic music passion" as a natural instinct as a tatoo. His music composition is progressive, not only for appearing in PA, but because he dares to explore, opposed to repeating, and goes beyond the easy nature of technology's "offerings" and juices those noises into means of modern artificial concrete electronic music, but never to the point of digression or pretention. With this work he travels into all kinds of places (the drum-boxes are only used when needed, which is an additional "bonus" in my book). Those places are so" futuristic", that nowadays will stand among any recent PE work. So this is not TD, Kraftwerk (old or new), Eno, Cluster, Neu, Harmonia or someone else. This masterwork stands by itself, in fact, timeless-like, like any perfect PA *****5 star work should be. Time just confirms its solid music "uniqueness". 5 stars, what else can I say.

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 Ballet Statique by SCHNITZLER, CONRAD album cover Studio Album, 1978
4.20 | 18 ratings

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Ballet Statique
Conrad Schnitzler Progressive Electronic

Review by Dobermensch

3 stars There's been quite a dramatic change in Schnitzler's sound by the time this came around. It's all a bit more 'accessible' than previous releases. In fact this sounds very similar in parts to the opening track of 'Throbbing Gristle's' - 20 Jazz Funk Greats which was released one year later.

Electronics abound, as your ears are subjected to stereophonic outbursts of arpeggiated squiggles and all sorts of synthetic misdemeanors.

It's all a bit like looking through one of those mid-70's cardboard kaleidoscope tubes that made you dizzy which you were chuffed to bits on getting your hands on in Primary School. Beatless, bassless, guitarless electronic experimentation is what you'll find here.

Personally I prefer his earlier output, which is more abrasive, dark and unfriendly. 'Ballet Statique is entirely electronic and sounds very cold, alien and non-human. At no point more so than on the freakishly haunted house sound of 'Nuri' where some creepy female vocals are introduced which sounds like some spooky invocation of the beast Gods.

Overall, this is a fairly well constructed electronic album with faint semblances of tune and is probably the best place to start for anyone wondering wondering who the hell this guy was with his multitude of obscure releases all beginning with the pre-fix 'CON'.

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 Zug by SCHNITZLER, CONRAD album cover Studio Album, 1973
4.34 | 9 ratings

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Zug
Conrad Schnitzler Progressive Electronic

Review by colorofmoney91
Prog Reviewer

4 stars Zug is one of Conrad Schnitzler's most compelling works and definitely one of the most completely interesting pieces I've heard from this master. Compared to Gelb or Rot, this album is considerably darker and more abstract in an almost creepy way.

Zug mainly pedals along with a continuous hypnotic pulsing that is similar to an electronic rendering of a train riding along its tracks, never attempting at all to slow down from such dangerously high speed. Flowing atop this pre-industrial pulsing and clicking are Conrad's analog synth sounds ebbing and flowing from far off to the forefront of the soundscape, changing from ethereal soaring to punchy direct synth attacking, Zug is always displaying dynamism to keep the listener's attention from disappearing into the organic hypnotic grinding.

Zug personally kind of reminds me of Bernard Parmegiani's L'oeil Ecoute (especially the first movement) except much more active and hypnotizing.

Explaining music like Zug is a bit difficult, so I feel forced to leave my above description as it is and hope readers understand the gist of this recording, but I'm sure upon actually listening to this album then the intensity and ingenuity of this album become more understandable.

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