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A student of Beuys and Stockhausen, 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. - The blue album from 1974 and was Schnitzler’s second solo LP. ++++++++++++ On the red album, Conrad Schnitzler laid down the direction his musical artistry would take. The blue album (“Blau”) offered confirmation of his intent. Maybe the “Rot” and “Blau” tracks were recorded in the same session. Structure, sound and timbre of both LPs are so similar as to suggest that this was the case (an un- verified assumption nevertheless!). Far more important than this historical pedantry is the fact that Schnitzler included two brand new compositions on “Blau” which followed on seamlessly from the previous album. Quite simply, he had found his way, a course from which he would not stray as long as he lived. ?The so-called Berlin School (Berliner Schule) – with Conrad Schnitzler one of their number – had developed its own style of minimalist music. Clearly distinct from Anglo-American pop music, and no less removed from the minimalist art music of Steve Reich or Philip Glass, the focus here was on electronics and elementary rhythmics. The Berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. With the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. “Blau” is an archetypal example of this very phenomenon. Courage, the pioneering spirit and artistic brilliance can be detected in each part of the album’s two infinite sequences. Inspired by Joseph Beuys, Schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. Questions of harmony, melody and strict form were well and truly rejected by Schnitzler. His aural crystals shine like pearls on a string. Schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are signposts to spatial and temporal infinity. Schnitzler’s style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times. 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The series was overseen by founding member Irmin Schmidt and producer\/engineer René Tinner, who delicately worked on restoring the archival recordings to the best quality for current modern technology. This record captures the band’s 1977 performance in Aston and features Schmidt (keyboard \u0026amp; synths), Jaki Liebezeit (drums), Michael Karoli (guitars), Holger Czukay (wave receiver \u0026amp; spec.sounds), plus Rosko Gee (bass), who appears for the first time in the series. This release features sleeve notes by former Sex Pistol, Glen Matlock, sharing his first-hand experience of witnessing CANs live show. 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Available in full for the first time on blue vinyl, CD and digitally. Originally recorded on tape, this carefully restored live album comprises the 1976 show in the format of a story with a beginning, middle and end, bringing CAN’s performance to life. The series was overseen by founding member Irmin Schmidt and producer\/engineer René Tinner, who delicately worked on restoring the archival recordings to the best quality for current modern technology. These albums have been released alongside a succession of interviews discussing the band’s live shows. The YouTube series comprise interviews with journalist\/author Pascal Bussy, Mute’s Daniel Miller, music critic Nick Kent, Primal Scream’s Bobby Gillespie, and Andy Hall and René Tinner who were both involved with recording CAN’s live shows. \u003c\/p\u003e","brand":"MUTE","offers":[{"title":"Limited Edition Curacao Blue Vinyl","offer_id":53201949688135,"sku":"TRI-07948","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/7034a58274915fd46cd6f9c8d113a226.jpg?v=1769319766"},{"product_id":"can-live-in-keele-1977","title":"Can - Live In Keele 1977","description":"2 LP A1\t Keele 77 Eins A2\t Keele 77 Zwei B1\t Keele 77 Drei B2\t Keele 77 Vier C1\t Keele 77 Fünf The long-awaited release of a fan favourite, LIVE IN KEELE 1977, is the latest in CAN’s series of live albums, released on Mute and Future Days. LIVE IN KEELE 1977 is the newest release in a series of live albums that have been unearthed from the Spoon Records vaults and from fan recordings, then painstakingly assembled by founding member Irmin Schmidt and producer and engineer René Tinner. This album is a dynamic document of late-period CAN. Recorded in March 1977, the core line up of Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay is augmented by the addition of Rosko Gee (Traffic) on bass. Gee’s recent addition to the line-up meant that Holger Czukay was freed up from bass duties to perform “waveform radio and spec. sounds”, manifesting here as otherworldly sounds, samples and what one reviewer of a later show described as “moontalk to a white continental telephone.” 1977 was a difficult period for CAN; their recently released eighth studio album, Saw Delight, had been badly received and although posterity has been kinder to the album, the reviews on release were savage. Journalist, broadcaster and author Jennifer Lucy Allan’s meticulous research of the time, place and context of the performance on the accompanying sleeve notes led her to declare of the album: “On paper, unremarkable. In practice, a precious hunk of sonic material.” Before going on to remind us that “The heads know – forums and published books alike agree – that ‘76-’77 is the best of the Can live years (Keele included). A couple of the tracks from this show have been included on fan-made “best of” live bootlegs over the years. And wow, are they right”. The album follows the release of CAN’s LIVE IN STUTTGART 1975, LIVE IN CUXHAVEN 1976, LIVE IN BRIGHTON 1975, LIVE IN PARIS 1973, and LIVE IN ASTON 1977, which have received high praise and featured heavily in Reissues of the Year. CAN’s unprecedented and bold marriage of hypnotic grooves and avant-garde instrumental textures has made them one of the most important and innovative bands of all time, and these albums reveal a totally different perspective to the group. Available on double vinyl and CD.","brand":"MUTE","offers":[{"title":"Vinyl LP","offer_id":53201949753671,"sku":"TRI-07949","price":32.99,"currency_code":"EUR","in_stock":true},{"title":"CD","offer_id":53201949884743,"sku":"TRI-07950","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/0eeacea73e9fe2a9ad8495714ab4dd97.jpg?v=1769319771"},{"product_id":"can-live-in-stuttgart-1975","title":"Can - Live In Stuttgart 1975","description":"\u003cp\u003e  Limited edition first pressing on orange vinyl packaged in triple gatefold sleeve, with 12” 4 page booklet that includes new extensive sleeve notes by novelist Alan Warner, archivist Andy Hall and manager Sandra Podmore Schmidt. 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Bridging the gap between the improvisatory rock jams of their earlier recordings, Monster Movie and Delay 1968, Soundtracks also laid the foundations for their more electronic and experimental sounding work, such as Tago Mago and Ege Bamyasi. “Intricate and subtle” All Music “Often overlooked… A good sampling of their more straightforward experiments” Pitchfork Available on Limited Edition Clear Purple Vinyl.\u003c\/p\u003e","brand":"MUTE","offers":[{"title":"Limited Edition Clear Purple Vinyl","offer_id":53201950081351,"sku":"TRI-07955","price":34.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/f4ff1ec15e172e3ce33bd6e0f62bd5be.jpg?v=1769319788"},{"product_id":"can-tago-mago","title":"Can - Tago Mago","description":"","brand":"MUTE","offers":[{"title":"Vinyl LP","offer_id":53201950179655,"sku":"TRI-07956","price":39.99,"currency_code":"EUR","in_stock":false},{"title":"CD","offer_id":53201950310727,"sku":"TRI-07957","price":14.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/e744a7807178617b5511cb87a101fe07.jpg?v=1769319792"},{"product_id":"der-plan-unkapitulierbar","title":"Der Plan - Unkapitulierbar","description":"","brand":"BUREAU B","offers":[{"title":"CD","offer_id":53201993957703,"sku":"TRI-12997","price":17.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/24e18a82ffd6f38703e3b0e0e4b53d14.jpg?v=1769321899"},{"product_id":"edgar-froese-aqua","title":"Edgar Froese - Aqua","description":"","brand":"CULTURE FACTORY","offers":[{"title":"MARBLE BLUE \u0026 WHITE VINYL","offer_id":53202114576711,"sku":"TRI-14787","price":49.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/85bde9f2f4d52c52af16ca8884419ec3.jpg?v=1769330367"},{"product_id":"golem-orion-awakes","title":"Golem - Orion Awakes","description":"","brand":"LION PRODUCTIONS\/CODE7","offers":[{"title":"CD","offer_id":53202133778759,"sku":"TRI-19263","price":16.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/392dd7d6f53b6f4bc9a4d644446486a1.jpg?v=1769331139"},{"product_id":"embryo-rocksession","title":"Embryo - Rocksession","description":"","brand":"MIG MUSIC","offers":[{"title":"Limited Edition Colour Vinyl","offer_id":53202185781575,"sku":"TRI-15610","price":31.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/1e97ae17a8d77c9753573cde0804421d.jpg?v=1769332733"},{"product_id":"gunter-schickert-nachtfalter","title":"Gunter Schickert - Nachtfalter","description":"","brand":"BUREAU B","offers":[{"title":"Vinyl LP","offer_id":53202189779271,"sku":"TRI-20028","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"CD","offer_id":53202190008647,"sku":"TRI-20029","price":17.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/58ea679f8896b9b60377c7f344d5db08.jpg?v=1769332927"},{"product_id":"guru-guru-kanguru","title":"Guru Guru - Kanguru","description":"","brand":"MIG MUSIC","offers":[{"title":"Vinyl LP","offer_id":53202190762311,"sku":"TRI-20041","price":32.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/37b9418152b867c56967e332254c5005.jpg?v=1769332974"},{"product_id":"harald-grosskopf-strom","title":"Harald Grosskopf - Strom","description":"Brand new album from Kraut-Rock legend You dont really need to say much about this man: co-founder of Wallenstein, drummer on at least two of the most wonderful Krautrock albums (namely \"Mother Universe\" and \"Cosmic Century\"), member of the legendary \"Kosmische Kuriere\", records with Ash Ra Temple and Klaus Schulze. Finally, Harald Grosskopf switched from drums to sequencers and created something breathtaking. I listened to his solo debut Synthesist (1980) to death, and few days began without \"So weit, so gut\". It was a record that did everything right, that salvaged whatever could be salvaged from Kraut, adding the melancholy with which one suddenly looked back on everything that could still be naively believed and played in the 70s. Then in 1985 came the follow-up Oceanheart, no less great, albeit already noticeably more minimalist. Manuel Göttsching could be sensed in the distance if you surrendered to the track \"Eve on the Hill\" and followed it into the depths. Time passed, the music stayed with me. I lost sight of Harald Grosskopf, even though he did produce an album from time to time. And now: \"Strom\". The evocation of electricity, the virtuosity of the circuit that skillfully intertwines man and machine, an antidote to the triumphal march of desolate musical digitality. If you listen carefully, you will immediately recognize the engineer behind the soundscapes. Right from the opener \"Bureau 39\", everything you would expect from Grosskopf is immediately there: the push toward hypnosis, a subdued pulse, catchy, circling bass lines, layering Moog kaleidoscopes. Some- times the sounds coarsen, the depths distort into grinding noises (as in \"Blow\"), into mechanical gurgling, i.e. into what remains when the path comes to an end, when the music reaches beyond the human. The mid-tempo track with the programmatic title \"After the Future\", grotesquely twisting the word “never\", points the way there. Time and again, however, the beat pauses, leaving space for the soundscapes - and then, at the latest, the electronica of the early 80s springs back to life. The two complementary pieces \"Gleich Strom\" and \"Spaeter Strom\" would also fit in wonderfully on Synthesist. On the other hand, the closing track \"Stromklang\" remains resolutely committed to the sinister, even gloomy groove that was previously unknown from this artist and with which he has finally returned to me after far too long. 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Despite their differing practices and processes, these musicians all have a long history together, and their free association produced unexpected outcomes which were embraced by Zappi and Dirk when it came to reassemblage. Dismissing veto power as the height of neo-liberal bullshit, they chose to keep more or less all the overdubs on the album, harnessing the power of arrangement and the mixing desk to fuse all these assorted elements into the impactful entities you hear on Blickwinkel. The result is a shapeshifter, at times commune friendly psychedelia, then grinding industrial, eerie ambient or driving motorik, but always refusing easy categorisation. 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It was over 20 years later, when Schmidt set up one of his art works—an original-sized, hermetically sealed Ministry for State Security (MfS) interrogation room—that the “Czukay gift” popped up again. Now it provided a soundscape for this pitch-black, oppressive room with its rubber walls. This is where Dresselhaus came across the material. It became clear that he was hearing more than just some everyday 1990s recording session. “It feels kind of bluesy in a cybernetic and abstract manner, with a very slow groove that keeps your attention the whole way through,” says Dresselhaus. He describes the mastering process as well as the reworking process of “Gvoon-Version 1“ as a balancing act between respecting the historical material and contemporary\/up-to-date studio processing. A respectful bow to Holger Czukays 87th birthday in March 2025. 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Hallogallo A2. Sonderangebot A3. Weissensee B1. Im Glück B2. Negativland B3. Lieber Honig C1. Für Immer (Forever) C2. Spitzenqualität C3. Gedenkminute (Für A + K) C4. Lila Engel (Lilac Angel) D1. Neuschnee 78 D2. Super 16 D3. Neuschnee D4. Cassetto D5. Super 78 D6. Hallo Excentrico! D7. Super E1. Isi E2. Seeland E3. Leb Wohl F1. Hero F2. E-Musik F3. After Eight G1. Im Glück (The National Remix) G2. Weissensee (Fink Version) H1. Super (Mogwai Remix) H2. Alexis Taylor – “4+1=5” I1. Hallogallo (Stephen Morris and Gabe Gurnsey Remix) I2. Lieber Honig (Yann Tiersen Remix) I3. Super (Man Man Cover) J1. Negativland (Idles Negative Space Rework) J2. Guerilla Toss - \"Zum Herz\" J3. After Eight (They Hate Change Cover) NEU! announce the release of a brand new boxset marking the 50th anniversary of their first record, with a Tribute album featuring reworks from The National, Idles, Alexis Taylor (Hot Chip), Mogwai, Fink, Stephen Morris (New Order) \u0026amp; more, set for release on 23rd September. NEU!’s influence is undeniable. Klaus Dinger and Michael Rother, who had both previously been members of Kraftwerk, are a product not only of West Germany but of Düsseldorf. Like other experimental bands of the late 60s and early 70s gathered under the banner of Krautrock, they were driven by a mixture of political and artistic imperatives to reject the cliches and conventions of orthodox, blues-based Anglo-American rock and create a music that was, formally, West German in origin. NEU! are one of the great, belated success stories of rock music. Their influence is widespread, international, continued. 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