Artist: Conrad Schnitzler
Genre(s):
Electronic
Classical
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
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.
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