Die Chronologie von Schnitzlers Solo-Veröffentlichungen in den 70er und vor allem in den 80er Jahren gleicht einem Buch mit sieben Siegeln. In zeitweise sehr kurzen Abständen brachte Schnitzler seine Musik teils auf analogen Kassetten, teils auf LPs heraus, nicht selten als "private releases", das heißt in eigener Regie und ohne Hilfe eines Labels oder professioneller Vertriebe. Das gelbe Album beispielsweise erschien 1981 als LP auf dem Label der Kunstgalerie von René Block in Berlin, nachdem Schnitzler bereits eine Reihe anderer Tonträger auf diversen Labels herausgebracht hatte. Tatsächlich ist die Musik des gelben Albums aber bereits 1974 als "The Black Cassette" in wahrscheinlich sehr geringer Stückzahl von Schnitzler selbst vertrieben worden. Das gelbe Album hat den Untertitel "12 Stücke aus dem Jahr 1974". Schon das deutet auf etwas Neues hin, denn bis dahin gingen Schnitzlers Stücke grundsätzlich über die ganze Platten- bzw. Kassettenseite. Hier versucht er sich nun erstmals an einer kürzeren Form. Außerdem neu: Schnitzler lässt auf mehreren Stücken nicht mehr nur automatische Klangprozesse ablaufen, sondern benutzt seine Keyboards offensichtlich auch, um "mit der Hand" gespielte melodie- ähnliche Improvisationen in seinen musikalischen Kosmos zu integrieren. Die eigentlich so kristalline, anorganische Kunstwelt Schnitz- lers wird damit um ein organisches, fast menschliches Element berei- chert. Durch die Musik des gelben Albums weht ein durchaus laues, freundliches Lüftchen, zum Glück meilenweit entfernt von den senti- mentalen Plattitüden der gebrauchsfertigen Ambient-Musik der 80er. Das gelbe Album ist nicht nur durch und durch freundlich, sondern es dokumentiert auch einen wichtigen Schritt in Schnitzlers musikalischer Entwicklung. Das späte Erscheinen als LP (1981) und die fehlenden diskografischen Angaben ließen diesen Gesichtspunkt etwas in den Hintergrund rücken. Aufmerksamen Hörern und Schnitzler-Kennern war jedoch sofort klar, dass das Album eine besondere Wegmarke darstellte, die einen deutlichen Weg in die Zukunft wies. Schnitzler hatte begonnen, sich aus dem Korsett der orthodoxen Konzeptkunst zu befreien, um in lichte Weiten unentdeckter musikalischer Gebiete vorzustoßen.

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Limited Anniversary Edition: embossed, reverse board, hand numbered, limited edition blue 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 blue album ("Blau") from 1974 was Schnitzler"s second solo LP

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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 red album ("Rot") from 1973 was Schnitzler"s first solo LP.

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"Auf dem schwarzen Kanal" is 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.
It gives us at Bureau B great pleasure to reissue this long lost work!

Tracklisting

A1. Auf dem schwarzen Kanal
A2. Fabrik
B1. Der Wagen rollt
B2. Elektroklang

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"Conrad & Sohn" (1981) is a joint project featuring Conrad and his son Gregor. Each recorded one side of the album using the same equipment. Liner notes by Asmus Tietchens. Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germanys electronic music avant-garde. A student of Joseph Beuys, he founded Berlins 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.



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The cardboard slipbox edition is strictly limited to 1000 copies.

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Thrilling remixes by Ricardo Villalobos & Max Loderbauer as well as Pole and Borngräber & Strüver.

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Only a few days before Conrad Schnitzler passed away, he created this unique, almost 70 minutes long work.

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Only a few days before Conrad Schnitzler passed away, he created this unique, almost 70 minutes long work. Gatefold cover / Incl. Download Coupon / first 500 copies contain special bonus art print by Conrad Schnitzler.

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It was 1999 when Hannes Strobl, Robert Buddenbrock and Rupert Huber released their first collaboration. DAWN - segments of a live performance, the crossover of Berlin's and Viennas electronic scene. The three musicians create a perfect tension of space, drums, percussion, bass and ambience. During the last decade they played in very different projects, like Denseland, Paloma and Tosca a.o. Now they met again to mold the experience of the las 14 years into a set of stunning tracks condensing the atmosphere of the mediterranean and other places into reduced minimalistic grooves and floating atmospheres. In opposite to his work with Tosca, where Rupert Huber embeds his sounds in a more easy listening context, Superconnection offers more room for sophisticated interpretation of contemporary electronic music. La Mer is as the sea - as the repetition of waves, always different - always the same.

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m=minimal continues its series of Ernstalbrecht Stiebler releases with “Ton in Ton” (Tone on Tone) feat. Ensemble Modern and Hans-Peter Schulz.

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There is a certain type of music that echoes the feeling of a dark promise. It triggers anxiety, and it is precisely this effect that makes it appealing. Such music represents a living contradiction, a threatening attraction, a sounding abyss. And it is fascinating like a Cronenberg film. Denseland's music oscillates precisely within this suspense. Hanno Leichtmann, Hannes Strobl and David Moss had already released an album titled "Chunk". Now they bring us "Like likes Like" with the Berliner label m=minimal and seek to combine everything that belongs together. Rhythmical textures, rudimentary melodies and a clear renunciation of harmonies develop into a lesson on the subject minimalism. It is this sort of rhythmical music that instantly develops into a sense of suction that couldn't be thriftier. The songs produce a deep and chilly effect. And beyond the rhythmical structures appears David Moss' magical Sprechgesang.

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The cardboard slipbox edition is strictly limited to 1000 copies.

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These "Clouds" range from classical to the latest in music.

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"The rebirth of cool" m=minimal is pleased to release a masterpiece of the early 21st century on vinyl. "Till the old world?s blown up and a new one is created" is an outstanding work of reductionism and minimalism. Martin Brandlmyar ( Radian / Trapist / Kapitalband 1 ), Werner Dafeldecker ( Polwechsel, David Sylvian, Autistic Daughters) and Christian Fennesz ( Touch / Mego / Thrill Jockey ) on this record created a new kind of Cool Jazz coupled with a big portion of New York School ( Cage, Feldman, Brown und Wolff). It's hard to describe the music with words. This work reveals his secrets only after listening to it a couple of times. It grows with each time you listen to it. In this work, silence and noise are never used as an end in itself. As equal parameters they stand in the composition that also has space for some tonal "flowers". Our recommended listening time is – round about midnight.

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Thrilling remixes by Ricardo Villalobos & Max Loderbauer as well as Pole and Borngräber & Strüver.

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Only a few days before Conrad Schnitzler passed away, he created this unique, almost 70 minutes long work.

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Only a few days before Conrad Schnitzler passed away, he created this unique, almost 70 minutes long work. Gatefold cover / Incl. Download Coupon / first 500 copies contain special bonus art print by Conrad Schnitzler.

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Ernstalbrecht Stiebler is the first German composer that based his compositions on minimal techniques. Limited Edition 300 units! Incl. download coupon

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After two re-releases of Conrad Schnitzler classics, (Zug & Ballet Statique) now m=minimal releases a completely new work from the pioneer of electronic music. Conrad Schnitzler is a sound explorer. For many years, he has been on expeditions, journeys through his collection of electronic synthesizers almost every day. Sounds he liked has been conserved on tape and stored in his sound library. The result is a huge library of audio files, he calls them "solen". "Borngräber & Struever" have got the chance to examine that library and started to con-struct new pieces out of the hidden gems. These are not remixes but new compositions. None of the sound combinations were thought or heard before. The 8 tracks form an album independent of any trend and therefore it becomes a real acoustic environment for everyone.

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