Conrad Schnitzler

北京時(shí)間8月8日消息，據(jù)國外媒體報(bào)道，德國實(shí)驗(yàn)音樂人、德國著名樂隊(duì)“橙夢”(Tangerine Dream)以及Kluster的早期成員康拉德-施尼茨勒(Conrad Schnitzler)已于當(dāng)?shù)貢r(shí)間8月4日因胃癌病逝，終年七十四歲。
by John Bush
One of the prime figures in the growth of Kraut-rock, Conrad Schnitzler made important contributions to the early history of Kraftwerk and Kluster. Like many in the Kraut-rock community, Schnitzler was greatly inspired by influences in the visual artistic world as well as the musical; he studied sculpture with Joseph Beuys, and composition with Karlheinz Stockhausen, also looking to John Cage and Pierre Schaeffer for inspiration. By 1969, he was working with Tangerine Dream, with whom he recorded Electronic Meditation. The album became one of the most distinctive in TDs discography, and Schnitzler takes much of the credit for its chance-taking approach.
Before the end of the decade, Schnitzler had begun appearing with another soon-to-be Kraut-rock legend, Kluster. Formed with Dieter Moebius and Hans-Joachim Roedelius, the group recorded two albums in 1970, Klopfzeichen and Zwei Osterei. Schnitzler left for a solo career one year later, though Moebius and Roedelius probably appeared on his debut, Schwarz (no credits were given, but other musicians can be heard). With Schwarz and 1972s Rot, Schnitzler began to progress from mostly acoustic music to a style based around electronics and tape-looped sound. Though he continued to record sparingly during the 1970s, not much of Schnitzlers work was released until the following decade. He emerged in 1978 with the album Con, recorded at Peter Baumanns Paragon Studios, and with the support of the French label Egg Records.
The beginning of a new decade resulted in much activity for Conrad Schnitzler, and he released seven albums in total during 1980-81 alone. The styles ranged from the harsh sequencer trance of Consequenz to the surprisingly pop-oriented project Con 3 (both were recorded with drum machines and vocals by Wolf Sequenza, formerly of Ton Steine Scherben). During the rest of the 1980s, Schnitzler recorded often, but released his work on increasingly obscure labels. After another fallow period during the early 90s, he began recording with Plate Lunch Records, which issued new releases such as 1998s 00/44 as well as archival reissues like 1971s Rot.