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Release date: 24.10.06
Conrad Schnitzler is a genuine legend in the krautrock and electronic music worlds. Schnitzler studied under Joseph Beuys before joining an early Tangerine Dream. Their first album Electronic Meditation shows a band highly influenced by Schnitzler's unique, singular approach. Schnitzler left Tangerine Dream to form Kluster with friends Dieter Moebius and Hans Joachim Roedelius. When Schnitzler left Kluster they changed their name to Cluster eventually merging with Michael Rother (of Neu!) to form Harmonia, a group who Brian Eno once called the most important rock group on the planet. Schnitzler also founded Eruption in 1970 along with Klaus Schultz, Manuel Gottsching (Ash Ra Tempel), and Klaus Freudigmann.
Looking back at Conrad Schnitzler's career it becomes obvious
that he was an architecht who helped draw the blueprints for some very
significant musical movements. Perhaps overlooked, or at least desperately
underappreciated, it hasn't slowed Schnitzler down. Since leaving
Kluster Conrad Schnitzler has composed dillegently for electronics
and piano. Now located in Dallgow Germany he continues to accumulate
equiptment and recordings of what he says is "cold, hard electonic sound."
Trigger Trilogy consists of three discs each selected from
hundreds of hours of Schnitzler's private recordings. Each
represents a one of the few unique approaches that Schnitzler takes
to recording, each uniquely identified and defined by Schnitzler.
Within each of these recordings one can hear how Schnitzler
influenced a generation of artists not only in Germany but the world
around and how he's brought those sounds into the modern day. It's also
apparent in these recordings that Schnitzler is a thoughtful and
enlightened, a total and pioneer floating freely in a world of sound.
Trigger One consists of what Schnitzler calls his
Solo Voices or Solo Electronics. This particular recording
happens to be rhythmically based electronic work. Recognizing that in
traditional music the melodic line is subordinate to the ensemble leaving
it no true impression of it's own Schnitzler has liberated the solo
voice in his own music and given it it's own vocation as noise, tone and
sound. By superimposing several voices or forming a sound environment by
mixing Schnitzler has created new dimensions, worlds of sound where
the individual voice is no longer subservient to synchronization or the
conductor's baton. The results are sound combinations which adhere to no
logic.
"The strength of the individual voice lies in its freedom from
vis-a-vis any sound." Conrad Schnitzler
Trigger Two is what Schnitzler refers to as Free
Concert Mix Solos:
"From solo to mix, from melodic line to
ensemble. Accumulation of voices,
note clusters which are not opposed
to one other but are equal and
parallel in a free play of energy. The
mix of solo voices produces
concentrations of notes and noises,
tangles, compressions, sound
constellations, sound catastrophes,
acoustic phenomena's.
The individuality of each voice is absorbed into
the chaos of the
overall sound, is held there and blurred. Musical
developments emerge
from the atmosphere of the individual voices of
the ensemble and its
variations. Sound sequences spill forth,
revealing tight and loose webs
of notes, changes in tempo, varying
expressions of volume and dynamics
and shifts in the direction of the
sound pattern. A sound chaos which
appears to change automatically
becomes perceptible. the indeterminate
starting order for the solo
voices create an open unfinished work,
containing a wealth of episodes
with sound sequences, environmental
associations, stylistic devices
from other worlds and interplay's of
nature and technology." Conrad
Schnitzler
Trigger Three, the final disc in the Trigger
Trilogy, is a Con-Cert. This is a tradition that Schnitzler
has been working in for quite some time. Originally using cassettes
and now using compact discs Schnitzler creates live mixes of multiple
recordings. The sounds are intentionally designed, shaped, constructed and
composed in specific relation to one another.
"The articulation of
sound in an era where new technology allows for the
creation of an
unlimited number of new sounds calls for new recording
techniques.
These are offered by tape, CD or computer hard disks.
In the past I
used conventional cassettes to create my concerts, but now
the sounds
are recorded on CD and can be used in the concerts thanks to
their
enhanced quality.
The individual tracks have fixed starting points
which can be adjusted
by a number of seconds and thus produce
different results. The volume of
the individual tracks can be adapted
to the acoustics of the location
and the listening experience will
vary for each location as a
consequence." Conrad Schnitzler
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