Boomkat Product Review:
Düsseldorf’s Baal & Mortimer is the latest invitee to rework Conrad Schnitzler’s legendary cabinet of synth curios on the Con-Struct series.
Operated by Alexandra Grübler since 2014, Baal & Mortimer are of a new German generation who work in the long shadow of influence cast by Conrad Schnitzler’s pioneering electronic music explorations. Chamber classical, synth-pop and gothic choral wrks inform B&M’s two albums to date (‘Deixis, 2020, and ‘The Torso Tapes’, 2021) and feed forward into the usual matrices of her Con-Struct side, bent and melded to Schnitzler’s palette of source material in sloshing, layered designs that mark the distance travelled since the late, great genius emerged as a founding member of Tangerine Dream in 1970, then with Moebius & Roedelius in Kluster, and until 2011 as a solo synth-o-naut.
On the eight woks Grübler takes Schnitzler’s fathomless lead as license to head all over the (work)shop, encompassing lilting Afro rhythmelodic patterns and glossolalia on ‘Mohn’, thru to astral siren calls in ‘Keystone’ and ‘Coat’, with gunky tones of ‘Blue Lotis’ recalling aspects of the classic ‘Conrad & Sohn’ side melted to a tangy essence, whereas ‘FFAALL’ swerves right to avant-chamber classical, and we’re best snagged on the weirdo space baroque of ‘Lo’.