sequenza

CONRAD SCHNITZLER
Early Self-Product Series

CONRAD SCHNITZLER + WOLF SEQUENZA / Consequenz
Collaboration with Wolf Sequenza (ex. KLUSTER-ERUPTION) in 1980. The original LP was pressed 500 copies. Including previously unreleased tracks from 1982 as bonus. 2008 digital remaster version with stickered paper sleeve, same as the original. First release on CD.
CONRAD SCHNITZLER / Contempora
The original LP was pressed 500 copies in 1981. Including bonus tracks in same time. 2008 digital remaster version with stumped paper sleeve, miniature newspaper and debossed paper, same as the original. First release on CD.
CONRAD SCHNITZLER / Context
This is a reissue of a cassette release on Transmitter Casseten in 1981. Sound materials for Schnitzler's street performance! Including one unreleased bonus track. 2008 digital remaster version with special paper sleeve. First release on CD. Ltd. 1,000 copies.
CONRAD SCHNITZLER / Convex

The original LP was pressed 500 copies in 1982. Including 7 bonus tracks from the Container cassette. 2008 digital remaster version with paper sleeve, same as the original.
CONRAD SCHNITZLER / 1.7.84

The original LP was pressed 222 copies and sold by mail order in 1984. Including 11 bonus tracks in same time. 2008 digital remaster version with print + stumped paper sleeve, same as the original. First release on CD.
read more at: www.captaintrip.co.jp/

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ERUPTION
Live action 1972, Wuppertal
music by: Conrad Schnitzler Klaus Freudigmann Wolfgang Seidel and friends
2LP (music on three sides)
with folder cover in heavy outer plastic sleeve, black vinyl & orange vinyl (180gr), cover by qbico $29.5/€20/£15.5
where to order: http://www.qbicorecords.com/
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Sold out - "Eruption 1971" is already sold out. If you missed it, look here:
KLUSTER - Admira 1971 - CD
KLUSTER - Vulcano 1980 - CD
Limited to 1000 copies and is packaged in a deluxe embossed gatefold jacket made to emulate the original die stamped embossed packaging for Kluster's album Klopfzeichen. Very deluxe.

 Admira is sourced from original master recordings discovered by Kluster member, and Tangerine Dream engineer, Klaus Freudigmann. Along with Vulcano, also being released at the same time on Important, Admira is presented here for the first time in this deluxe package. These intense sessions were made with Schnitzler at the helm, as always, after the departure of Mobius and Roedelius from the group.

 Conrad Schnitzler founded Kluster in 1969 along with Roedelius, Mobius and often Klaus Freudigmann who had multiple roles within the group as a player, engineer 
and instrument inventor. Eventually Roedelius and Mobius left Kluster and continued on as Cluster while Schnitzler and Freudigmann continued as Kluster often exploring the communal aspects of music by bringing new people into the group.
read more at: www.importantrecords.com



Men in Black (from left to right): Wolfgang Seidel, Conrad Schnitzler and Klaus Freudigmann listening to the tapes that survived in Klaus' attic for more then 30 years.
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Sequenza Solo
Latest Music

I made this music player at MyFlashFetish .com.

Sequenza unplugged

Dieter Grühn - saxophone; Michael Korn - trombone; Klaus Kürvers - bass: Frederick Möhle - bass; Wolfgang Seidel - drums & vibraphone

I made this music player at MyFlashFetish .com.

and "plugged" at www.myspace.com/freeartslab
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Latest video
Machines 2007 by Anna Wills (Music: Wolfgang 'Sequenza' Seidel)
see video
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Sequenza?
Das wurde irgenwann Anfang der 80er mein Spitzname und bezieht sich einmal auf den italienischen Komponisten Luciano Berio, der in den 50ern bekannt wurde mit seriellen und elektronischen Kompositionen, die er Sequenza betitelte. Und es hat etwas zu tun mit dem häufigen von Sequenzern in der Musik, die ich in der Zeit vor allem mit Conrad Schnitzler machte. Spacemechanic? Eines der Projekte aus dieser Zeit hieß Populaere Mechanik und ist immer noch (bzw. wieder) aktiv.Und Spacemechanic weil Hall und Echo die ersten Effekte waren, mit denen wir uns einen eigenen, außerirdischen Raum schufen. Wie so etwas klingt, kann man bei www.myspace.com/freeartslab hören.
The nickname Sequenza refers to the music of Luciano Berio who became famous in the 50ties for his electronic and serial compositions. And it has something to do with the heavy use of sequencers in the music I did in the 80ties together with Conrad Schnitzler so eventually Sequenza became my nickname. Spacemechanic? One of the groups I have been involved at that time was called Populaere Mechanik. And why spacemechanic? Echo and reverberation were our first extensivly used sound effects to create otherwordly music. How does that sound? Watch the videos or find out at : www.myspace.com/freeartslab .
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Fresh Noises by Spacemechanic & Populaere Mechanik: www.myspace.com/freeartslab
Populaere Mechanik Videos: www.myspace.com/mechanikerlarsen
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Ton Linie Fläche
Video: Bettina Kuntzsch Music: Wolfgang Seidel
see video
Video: Thomas Kiesel
Music: Wolfgang Seidel
see video

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Eruption: Elevator

Ein Blick über das verlassene Zentrum Berlins am Potsdamer Platz am Ende der 60er. Musik: Eruption (Conrad Schnitzler, Klaus Freudigmann, Wolfgang Sequenza SeidelThe deserted center of Berlin at the end of the sixties with the atmospheric music of music by: Conrad Schnitzler, Wolfgang Seidel, Klaus Freudigmann.)
recorded ca 1972, released 2006 by QBICO (www.qbicorecords.com)
The Wire-November 2005 issue 261:
"Eruption was a multidisciplinary freeform ensemble put together by cellist, violinist and early electronic improvisors Conrad Schnitzler in 1970 as an adjunct to his work with Kraut bahamoths Tangerine Dream and Kluster. They seem to have functioned more as a thinktank for the then explosive Krautrock scene than a straightforward gigging group, with a revolving memebership that at points included members of Embryo, Ash Ra Tempel and Agitation Free. Details of Eruption's Berlin actions have appeared in most comprehensive German rock overviews, but up until now there has been no audio documentation, making Qbico's archival unearthing of a 1970 live performance from Studio Freudigmann, Berlin all the more significant. Although the picture on the back features footage of a big band show with members of Amon Dulul and Ash Ra Tempel, the LP documents a trio set from Schnitzler, Wolfgang Seidel and Klaus Freudigmann that is much more punk than the group's links to such centres of kosmische boatfloat might suggest. The music starts out fairly fragmented, with sustained violin drones caught in a flux of scattershot percussion, short passages of silence and wowing effects. Although it feels a little tentative at first, this slightly more deliberate approach is borne of a hard-thinking improvisatory ethos, based more on exploring aspects of interactive dialogue than free rock gush. But after the parameters of the exchange have been fully established, the trio start to move the music out, with tracks based around oscillating analogue tones, feral violin and distorted improvised vocals that sound uncannily like the freeform punk of Dylan Nyoukis's Blood Stereo and Decaer Pinga. Side two feels a little more of its time -a good thing- with fuzz-wah, organ and drums generating circular hymns to nada that are as ferociously monosyllabic as anything by Klaus Dinger's La Dusseldorf. The inspired combination of rock dynamics, freely improvised dialogue and manhandled electronics makes this another one of those historically upending releases that captures a moment of conceptual precognition decades before it would be fully assimilated. But all the jawdropping formal considerations aside, Eruption makes for a thrilling stand-alone ride" David Keenan

see video
another video one from the same session:
see video
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Changing Channels - London Biennale Pollinations
Vernissage 24. August 2003 - 20 Uhr
Borders
by Ryan S. Lemke
Vibraphone performance: Wolfgang Seidel
mehr / more information: www.zero-project.org
Eigentlich mag ich keine Soloauftritte. Man trifft dabei immer nur sich selbst. aber keine Regel ohne Ausnahme...
Normally I dont like playing solo. Doing so you only meet yourself. But sometimes I make an exception.
see video
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Conrad Schnitzler: The Cassette Concerts
Conrad Schnitzler,
German pioneer of cold, hard, electric sound, has refused to stay dormant in the 35 years since his collaborations with Tangerine Dream and Kluster, as well as his own legendary group, Eruption. He has spewed forth a phenomenal amount of sound and noise in every format, from player piano rolls to MP3s. ...

... But Schnitzler's grounding in modern art has had more of an effect on the way he makes music than he might be willing to admit. Notoriously publicity shy, it has been several decades since he last performed in public, preferring to delegate the duties to two appointed 'conductors', one based in New York and one in Berlin, who are given a set of prerecorded CD-Rs and the leeway to realise whatever mix of the four they feel like on the night! Indeed, high concept art actions have always been Schnitzler's preferred way of presenting his music. He has performed while daubed, Otto Muehl-style, in body paint, and elsewhere participated in street actions involving a specially constructed motorcycle helmet with built-in loudspeaker, the highlights of which were included on CONvideo70s, briefly available from Qbico and now out of print.

"Oh, that was a nice story," Schnitzler beams. "This was around the time that I was fed up trying to keep it together to feed myself and was trying to work out how to make my art but still get enough money to eat. I had a transport bicycle with an amp attached to it and a tape recorder, and then my white leather gear and my helmet with a loudspeaker horn built in. If I played my music on the street, the police would always come along and tell me to move, so this way I could just walk on but keep playing the music out of the helmet. People would say, 'What's this? Crazy music? Can I buy it?' I just reached around into my knapsack where I had a bunch of handmade cassettes. I would make about 100-120 marks just by walking around and I was getting money every day. It was amazing. Sometimes my friends would recognise me and come up to me, say, 'Hey, Con, what are you doing?' I would just speak to them in a robot voice through the loudspeaker. 'I do not understand. I am not Con. Would you like to buy a cassette?"'
The Wire, UK (issue 267, May 2006)
Alles, was ich als einer der beiden "appointed 'conductors', one based in New York (siehe Blog) and one in Berlin" für ein Kassetten-Konzert brauche: CDs (ja, die Kassetten sind auf praktischere CDs überspielt), CD-Player und Mischpult.

All I need as one of the "appointed 'conductors', one based in New York (see my blog) and one in Berlin" for a cassette concert fits as in one case (yes, the original cassettes have been transferred on cd).
Auschnitt aus einem Kassetten Konzert in der Galerie Transition , Berlin 2003. (mehr im blog...)
Exerpt from a cassette concert at Galerie Transition , Berlin 2003
Music composed by Conrad Schnitzler, conducted/remixed by Wolfgang Seidel Video instalation by Dani Haerle on multiple monitors
for more information see my blog...
see video