Convex

Conrad Schnitzlerが1980年代に自主リリースしたLPシリーズの一作『Convex』がBureau Bより待望の再発。本作はジャケットにタイトル以外の情報がほとんどなく、収録曲名も片面「Convex」、もう片面「Concav」とラベルに記されるのみ。音源制作にはサンプル&ホールドジェネレーターを用いた実験的な手法が採用され、シンセサイザーとシーケンサーを介して偶然性を含むサウンドが展開される。聴く者に特定の解釈を求めず、想像力を刺激する作風は、エリック・サティの家具音楽やブライアン・イーノのアンビエント的要素を連想させるが、Schnitzler自身の実験精神に基づいた独自の表現方法。偶然性と制御、静けさと透明性が共存する、特異な一枚。

Convex was the only LP Conrad Schnitzler released in 1982, though he continued recording an untold amount of cassettes, as he did throughout his lengthy career. On this record, he utilized a sample-and-hold generator, which converted sounds into random sequences of tones. Using sequencers and generators rather than keyboard-based synthesizers, he created slowly unfolding pieces which were left up to chance. While the compositions often have an unhurried pace, they seem far from relaxed or tranquil, and it would be a misnomer to refer to them as ambient. Theyre generally hypnotic and often quite busy, and even when they arent, they sound like an exploration of an alien planet. "Convex 2" contains high-pitched, semi-melodic pulsations over an atmospheric bed which seems to grow and breathe. The following track is closer to minimal synth and coldwave with its sparse, icy rhythm, as well as its tones, which drip like raindrops. "Convex 4" continues with these dripping sounds, but adds more clanging, discordant ones which bring to mind prepared pianos. "Convex 5" is a thrilling space journey filled with whirring accelerations and rocket-like zooms. "Convex 6" conveys a sense of panic and uncertainty, with noises blurting out in the dark from all directions. The final piece is lengthier, quieter, and more meandering than the others, though its highly suspenseful in its subtlety. Convex balances spontaneity with order, producing strange and sometimes fascinating results. ~ Paul Simpson