The Sixth String

   
Artist: The Sixth String

   Genre(s): 
Other
   

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Discography:


   
 A Typical Dream in Colour

   Year: 2004   
Tracks: 10

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Conrad Schnitzler

   
Artist: Conrad Schnitzler

   Genre(s): 
Electronic
   Classical
   

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Discography:


   
 Contakt

   Year: 2003   
Tracks: 12


   
 Con '72

   Year: 2001   
Tracks: 2


   
 Acon

   Year: 2000   
Tracks: 17


   
 Convex Live

   Year: 1995   
Tracks: 15


   
 Control Live

   Year: 1995   
Tracks: 25


   
 Blue Glow Live

   Year: 1994   
Tracks: 15


   
 Con Brio

   Year: 1993   
Tracks: 6


   
 Constellations

   Year: 1987   
Tracks: 2


   
 Con 3

   Year: 1982   
Tracks: 9


   
 Rot

   Year: 1981   
Tracks: 2


   
 Auf Dem Schwarzen Kanal

   Year: 1980   
Tracks: 4


   
 Ballet Statique

   Year: 1978   
Tracks: 10


   
 Blau

   Year: 1972   
Tracks: 2


   
 Tracks From The Ivory Tower

   Year:    
Tracks: 5


   
 Electronegativity

   Year:    
Tracks: 8


   
 Convex (Fragments)

   Year:    
Tracks: 3


   
 Consequenz 2

   Year:    
Tracks: 8


   
 Charred Machinery

   Year:    
Tracks: 3


   
 Automat

   Year:    
Tracks: 4


   
 0044

   Year:    
Tracks: 12

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One of the prime figures in the growth of Kraut-rock, Conrad Schnitzler made authoritative contributions to the former history of Kraftwerk and Kluster. Like many in the Kraut-rock community, Schnitzler was greatly divine by influences in the ocular aesthetic populace as well as the musical; he studied sculpture with Joseph Beuys, and composition with Karlheinz Stockhausen, likewise looking to John Cage and Pierre Schaeffer for intake. By 1969, he was working with Tangerine Dream, with whom he recorded Electronic Meditation. The album became one of the near classifiable in TD's discography, and Schnitzler takes a great deal of the credit for its chance-taking access.


Ahead the end of the decennary, Schnitzler had begun appearing with another soon-to-be Kraut-rock caption, Kluster. Formed with Dieter Moebius and Hans-Joachim Roedelius, the group recorded two albums in 1970, Klopfzeichen and Zwei Osterei. Schnitzler left for a solo calling one year later, though Moebius and Roedelius credibly appeared on his debut, Schwarz (no credits were disposed, merely former musicians toilet be heard). With Schwarz and 1972's Rot, Schnitzler began to progression from by and large acoustic music to a style based around electronics and tape-looped wakeless. Though he continued to record meagerly during the seventies, non much of Schnitzler's work was released until the following decennary. He emerged in 1978 with the album Bunco, recorded at Peter Baumann's Paragon Studios, and with the support of the French mark Egg Records.


The starting time of a new decade resulted in much activity for Conrad Schnitzler, and he released seven albums in add up during 1980-81 alone. The styles ranged from the rough sequencer enchantment of Consequenz to the surprisingly pop-oriented project Hustle 3 (both were recorded with drum machines and vocals by Wolf Sequenza, at one time of Ton Steine Scherben). During the rest of the eighties, Schnitzler recorded oftentimes, only released his act on increasingly obscure labels. After some other fallow stop during the early '90s, he began recording with Plate Lunch Records, which issued new releases such as 1998's 00/44 as well as archival reissues like 1971's Guff.





Simpson's 'eat meat' shirt blasted by Peta

The Fratellis 'Stand' on summer tour dates

Scottish indie rockers The Fratellis [ tickets ] have lined up a short run of US dates to back their sophomore studio effort, "Here We Stand," which is due in stores next week.The Glasgow trio will make the American trip before settling into the summer European festival circuit, kicking off June 11 in Boston. The outing concludes with a June 21 appearance at Calgary, Alberta's Virgin Festival.The group will return to the US in the fall to tackle a slot at Morrison, CO's Monolith Festival. Dates are below."Here We Stand," which drops June 9, is the band's follow-up to its 2006 debut, "Costello Music." The new album was produced by the band in Glasgow and mixed in New York by Andy Wallace (Nirvana, Rage Against the Machine).The set's first single, "Mistress Mabel," was released in late May. The band confirmed on BBC Radio 2 early last month that the second single will be "Lupe Brown," although no release date has been set."Most of the songs seem to be little conversation pieces to me," singer Jon Fratelli said in the band's online bio. "They're almost always a little conversation between two people. That's the pleasure I get from writing them: I don't have to analyze them." The trio--which, a la The Ramones, all go by the surname Fratelli even though only bassist Barry Fratelli has a claim to the name (it's his mother's maiden name)--formed after meeting at a carnival where all the members worked, played their first show in 2005, and were signed by Fallout Records after playing a total of nine gigs.

Radiohead wants Prince cover on YouTube

Thom Yorke questions removal of videos





After word spread that Prince covered Radiohead's "Creep" at the Coachella festival, the tens of thousands who couldn't be there ran to YouTube for a peek. Everyone was quickly denied -- even Radiohead.
All videos of Prince's unique rendition of Radiohead's early hit were quickly taken down, leaving only a message that his label, NPG Records, had removed the clips, claiming a copyright violation. But the posted videos were shot by fans and, obviously, the song isn't Prince's.
In a recent interview, Thom Yorke said he heard about Prince's performance from a text message and thought it was "hilarious." Yorke laughed when his bandmate, guitarist Ed O'Brien, said the blocking had prevented even him from seeing Prince's version of their song.
"Really? He's blocked it?" asked Yorke, who figured it was their song to block or not. "Surely we should block it. Hang on a moment." Yorke added, "Well, tell him to unblock it. It's our ... song."
YouTube prohibits the posting of copyrighted material. If the site receives a complaint from a copyright owner, it will in most cases remove the video(s). Whether the same could be done for a company not holding a copyright is less clear, but Yorke's argument would seem to bear some credence according to YouTube's policies. YouTube, which is owned by Google, declined comment.
Prince has not responded to a request for comment.
The dispute was an interesting twist in debates over digital ownership, held between two major acts with differing views on music and the Internet. Radiohead famously released their most recent album, "In Rainbows," as a digital download with optional pricing. They also have a channel on YouTube.
When Prince performed at Coachella on April 26, he prohibited the standard arrangement of allowing photographers to shoot near the stage during the first three songs of his set. Instead, he had a camera crew filming his performance.
Prince, who founded NPG Records in 1993, has been innovative when it comes to music distribution, too. He released his 1997 album, "Crystal Ball," on the Internet and in 2006 was awarded a lifetime achievement award by the Webbys. In 2007, he gave away copies of his disc "Planet Earth" in a British Sunday newspaper.
But Prince has also shut down his official Web site and in September said he would sue YouTube and eBay for not filtering unauthorized content.
Prince fans have organized to urge him to relent in his legal fights to control images and photographs of himself. As of yesterday, the most popular YouTube clip about Prince playing "Creep" is an expletive-laden rant from Sam Conti Jr., who describes himself as a "former Prince fan."