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Deconstructivist Sound for Conrad Schnitzler

from Deconstructivist Sound by Stefan Roemer

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about

instruments:
Korg MS-50 (modified), radio, electric guitar (with: Vox Tonebender, Farfisa TR-60 deluxe combo), diverse metal boxes, pieces, metal chain, Sony Walkman Professional: 3 original cassettes from Conrad Schnitzler’s archive and a spoken manual for a self-built sequencer

lyrics

score based on quotes by Wolfgang Seidel and David Stubbs

»In his time with Tangerine Dream, as documented on the first LP Electronic Meditation, Conrad Schnitzler played a Cello freed from harmonic constraint by means of effect units and objects placed between the strings. He sat with his back to the audience, an electronic guitar across his knees, which he maltreated with metal parts. But Schnitzler didn’t invent these techniques. Avantgarde composers had already been addressing the question of where to draw the line between noise and musical sound for some time.«

Wolfgang Seidel, Wir müssen hier raus! Krautrock, Free Beat, Reeducation, Mainz 2016, p. 64. (Translated by S. R.)

»This is assault music without aesthetic concessions of any sort. Initially, those watching and listening might have taken Schnitzler for a man who had no formal training and was simply wreaking violent, mischievous havoc with the knobs and phasers on his equipment... It’s a music of violent, hectic ascents and crash-landing descents. It’s the very antithesis of Kraftwerk and Tangerine Dream... On Con ’72, he doesn’t use synthesizers to paint pictures of the cosmology but repeatedly punches you in the face with the reality of the here and now – here is a man, on a stage, and this is a machine and this is noise. There is no attempt at sentiment, transportation to other places, or pleasant colouration.«

David Stubbs, Future Days. Krautrock and the Building of Modern Germany, London 2014, p. 397.

credits

from Deconstructivist Sound, released December 4, 2020
thanks to Wolfgang Seidel and
Jan Rohlf and CTM Festival team

license

all rights reserved

tags

about

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Stefan Roemer Berlin, Germany

Stefan Römer founded the activist artist collective »FrischmacherInnen (fresh-makers)« (1992); his essay film »conceptual paradise« (2006) on post-minimalist and three generations of conceptual art was internationally screened; his book »inter-esse« appeared at merve pub. in 2014. ... more

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