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Conrad Schnitzler
POLE
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Bureau B, 2017

Czas trwania: 40:02

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CD : 64,90 zł
na stanie
Nr kat.: BB243
EAN: 4015698009866
format : CD
liczba nośników : 1
Opakowanie : plastik
winyl : 82,90 zł
dostępność:
2 tygodnie
Nr kat.: BB243
EAN: 4015698009873
format : 12"LP+CD
kolor : czarny
liczba nośników : 2
 


  powiadom mnie kiedy pojawią się sample
  poleć znajomemu


https://www.youtube.com/watch?v=hhDkTsjxt2g

https://www.youtube.com/watch?v=JGReNnQvM30

Who is Conrad Schnitzler?

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 Joseph 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.

Who is Pole?

The Düsseldorf-native musician, producer, remixer and mastering engineer Stefan Betke looks back on a steady two decade career in abstract electronic club music. Together with Barbara Preisinger he created the label „scape Records” and his own mastering studio „scape-mastering”.

What is the concept of the Con-Struct series?

Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When Jens Strüver, the producer of the Con-Struct series, was granted access to this audio library at the outset of the 2010 decade, he came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.

A few words from Pole on his con-structions To be honest, in earlier times I never quite warmed to Conrad Schnitzler's work. Back then, in the middle of the 80s, we were still occupied with traditional band projects. We played hip-hop, jazz, avant-garde, but with guitars, drums, etc. We still asked ourselves the question: "How can we
.......
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