Control

Conrad Schnitzlerの1981年作『Control』がBureau Bより再発!本作は、Peter Baumannとの友情を通じて新しい電子音響機器や周辺技術を駆使し、Schnitzlerの実験精神を余すところなく表現した作品。特徴的な粒子状のサウンドやグリッサンドが躍動する楽曲に加え、伝統的和声と独自の音の美学を融合した楽曲も収録。オリジナルLP同様、曲は途切れず連なり、短く濃密なスケッチの構成ながら、Schnitzler独自の音楽世界の輪郭を鮮明に描き出しています。芸術への好奇心と探求心を結晶させた『Control』は、Schnitzlerの音楽の旅を凝縮した作品。

Control originally appeared in 1981 during an especially productive era in Conrad Schnitzlers career. Inspired by his friend Peter Baumann (like Schnitzler, a former member of Tangerine Dream), he experimented with different sound generators, and attempted to incorporate traditional harmonic elements into his work. When the LP was originally issued, it simply consisted of two sidelong pieces, but subsequent reissues have divided the album into short tracks. Most of the pieces sound different from one another, with some being meandering drones, and others sounding much busier and more exciting. The most memorable ones demonstrate Schnitzlers curious, playful side, with "Control 4" having sprite-like high-pitched melodic tones, and "Control 6" containing whooshing synths which seem to signal an alien abduction. On the more industrial side, "Control 5" has sharp, buzzing fluctuations; "Control 9"s spaced-out wheezing is less abrasive, but no less intoxicating. "Control 7" approaches bell-like ringing covered in heavy flange effects, while "Control 10" glimmers and twinkles as it dances around an abstract melody. "Control 11" lays tweeting pulsations over an eerie but calm drone, coming as close to ambient music as this album gets. The final track has a gentle sway, resembling the chimes of a melting clock. Control explores a wealth of ideas in a fairly succinct manner, rarely dwelling on a particular sound or technique for too long. Its best moments are fun and incredibly trippy, displaying Schnitzlers restless spirit for experimentation. ~ Paul Simpson