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“...on the way to the complete Schnitzler.” This optimistic goal was recently formulated by an employee of Bureau-B. But just as it was Schnitzler's life's work to create a sonic universe of his own, it is practically impossible to document that sonic universe in its entirety. I have previously expressed this assumption elsewhere. The sheer volume of official releases (LPs, CDs, cassettes) is almost unfathomable. Added to this are the small editions released by Schnitzler himself, which are not included in the discographies. And then there are the holdings of various archives, which have only been partially evaluated so far. In other words: Schnitzler and still no end in sight. But the journey is its own reward, and this journey will be a delightfully long one. Onward!

“Control” was created during a phase of Schnitzler's work in which his friendship with Peter Baumann (formerly of
Tangerine Dream) allowed him to try out and use new electronic sound generators and peripheral technologies. He
never used these innovations merely for their own sake, but always put them at the service of his artistic flair for
experimentation. His signature style is clearly recognizable on “Control”. The album seems to be a kind of
compilation of different musical approaches. Tracks 5 and 9, for example, are classic Schnitzler: sparkling
cascades of electronic sound particles, interspersed with longer and shorter glissandi, constant movement in all
directions. But then there are tracks 1, 8, 11, and 12 – and here I can only speculate – where it seems as if
Schnitzler wanted to combine a few elements of traditional harmony with his own sound aesthetic in these pieces.
And why not? He was completely undaunted by new things. Most important was that the music remained within the
framework of his strict overall concept. There is no spacing between the tracks on the ori.......
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