Name: Con
Brand: Conrad Schnitzler

Bonus disc

Bonus disc: No

Catalogue number

BB350

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2020-08-07

Signed copies

Signed copies: No

Supplier GB

Shellshock

Tax rate GB

Standard:20

UPC / Barcode

4015698369755

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Total Cap

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

BB350LP

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Black

4015698860856

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1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / black

Artist

Conrad Schnitzler

Genre GB

Krautrock

Label GB

Bureau B

Bureau B is an independent record label, music publisher, and booking agency based in Hamburg, Germany. Founded in 2005 by Gunther Buskies as a sister label to Tapete Records, Bureau B specializes in releasing a diverse range of electronic and avant-garde music. With a focus on reissues and new productions, the label has built an extensive catalogue that includes iconic albums from the Krautrock genre of the 1970s and early 1980s. They also release recordings by influential artists such as Die Wilde Jagd, Kreidler, Toulouse Low Trax, and more.

Known for their commitment to preserving classic electronic music, Bureau B has been rereleasing albums from renowned artists like Cluster, Faust, Moebius, Roedelius, Plank, Schickert Schnitzler Tietchens Tyndall. In addition to these reissues, they also release works by similar artists including Blenner Heldon Pinhas Rev or NDW Plan Pyrolator.

With their impressive catalogue and dedication to promoting innovative music across various genres within the electronic spectrum - from pop to avant-garde - Bureau B continues to be a prominent force in the global music industry. Their contributions have solidified them as an authoritative figure in the world of independent labels.

Conrad Schnitzler (17 March 1937 - 4 August 2011) was a pioneering figure in the German electronic music scene for three decades. He studied under Joseph Beuys in the mid-1960s and later joined Tangerine Dream, contributing a unique conceptual approach that helped propel the band to legendary status. After leaving Tangerine Dream, Schnitzler formed Kluster with his friends Moebius and Roedelius, releasing three albums before embarking on his solo career. Over the years, he released numerous albums and recordings on various labels worldwide. Sadly, Schnitzler passed away from stomach cancer in 2011, leaving behind an impressive body of work.
Schnitzler's influence on electronic music cannot be overstated. His experimental style and avant-garde compositions pushed boundaries and challenged conventional norms within the genre. From his early collaborations with Tangerine Dream to his prolific solo career, Schnitzler consistently demonstrated an unwavering commitment to innovation and artistic exploration.
Despite facing health challenges towards the end of his life, Schnitzler remained dedicated to creating music until the very end. Just four days before his passing, he completed his final work—a testament to his passion and enduring legacy as one of electronic music's true pioneers.

Bureau B reissue Con - the album which Conrad produced together with his Tangerine Dream colleague Peter Baumann at the Paragon Studios in Berlin in 1978. Schnitzler bought his first synthesizer in the early 1970s - a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a "cassette organ" out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfürstendamm, West Berlin's premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers. He sold the cassettes on the spot. It doesn't get more independent than that. How did he find his way into a commercial studio? Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzler's successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer and his EMS Synthi (a portable model in an attaché case), having transported the whole lot on his delivery bicycle. Disciplined artisan that he was, he soon had something decent to show for his efforts. Something, indeed, which could be pressed on vinyl for a wider audience. It was clear in Schnitzler's mind that he needed to leave the studio at least some commercially viable material in return for the chance to work there. Hey, it could even be fun. Con 3. proves as much. The last record to be completed at Paragon reveals Schnitzler's light-hearted rapprochement with German New Wave (Neue Deutsche Welle). However, when record companies rolled out their standard contracts, including the usual clauses obliging the artist to attend interviews and participate in television shows, Schnitzler's independent spirit rebelled. Those contracts remained unsigned. The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing and looping, came to an end when the studio was sold and Peter Baumann moved to the USA.

Music GB