Conrad Schnitzler is undoubtedly one of the founding fathers of German electronica. And his son, Gregor Schnitzler, matched the father's extraordinary level of creative output. They appear to have settled any musical differences amicably. After all, how else could they have "shared" an LP released by Conrad Schnitzler himself? One half features music by Conrad, the other his son Gregor. Two mini albums on one disc, so to speak. Father and son offer up drastically opposing musical concepts to our ears.

Conrad Schnitzler's one and only album with his sohn, Gregor, is a truly remarkable blip on the history of electronic music. Created and originally released as a private pressing in 1981, it touches down from the austere space music of Conrad's '70s period, making concession to both the NDW and Industrial waves crashing in from his own country and the rest of the world. This is almost certainly due to the influence of his son, Gregor, who is credited with creating at least half the album and all of the bonus tracks (which aren't on the cheeky Creel Pone bootleg I own!), but you get the sense that Conrad was probably about ripe to get down with something a bit "funkier" and *whisper it*, "pop". The first five tracks are credited to both father and son and clearly the more pop-industrial styled, ranging from space-moochin' boogie to prodding proto-techno pop with proper weird lyrics sung thru Schnitzler's famed modular set up. The other six tracks are Conrad's work, dark, mutant and unfriendly, but with a sharply defined sense of rhythm and more concise structures, if you can call them that, than usual. Factor in five (unreleased?) bonus tracks by Gregor reminding of Chris Carter circa 'The Spaces Between' and you've got nowt less than a total essential in our books. Honestly, this is one of the best, maddest records you will ever hear. (Boomkat)