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  • Born

    7 March 1940

  • Born In

    Concord, Merrimack County, New Hampshire, United States

  • Died

    9 April 2016 (aged 76)

Outside the Dream Syndicate is a 1973 collaboration album by United States avant-garde filmmaker Tony Conrad and German krautrock group Faust. The album marks Conrad's first and only musical release for many years, and remains his best known musical work. It is considered a classic of minimalist and drone music. Pitchfork Media exclaims "for a moment in Outside the Dream Syndicate, one forgets what exactly is moving and what is standing still."

The original LP contained two 26-minute pieces. The album was digitally remastered in 1993 and released on CD by Table of the Elements with an additional 20-minute previously unreleased bonus track.In 1972 Péron, Sosna and Diermaier also collaborated with the violinist Tony Conrad on an album entitled Outside the Dream Syndicate; the record was released at low price in the UK and was at the time one of the few available examples of drone-based minimalism.

In the mid-1960s Tony Conrad was a member of The Dream Syndicate, a United States experimental and drone music group.
In New York City Conrad was approached by a filmmaker from Hamburg in Germany who said that he knew a producer in Hamburg who would be interested in Conrad's music. Conrad flew to Hamburg where he met Uwe Nettelbeck, Faust's producer. Nettelbeck took Conrad to an old schoolhouse where Faust had been recording, and invited him to make a record with the band, "outside" Conrad's group, the Dream Syndicate (and hence the title of the album).

In 1995, Conrad and Faust reunited to play a 50-minute live version of the piece "From the Side of Man and Womankind"; the concert was eventually released in 2005 as the album Outside the Dream Syndicate Alive.
A live recording from 1995 of a later concert, entitled "Outside The Dream Syndicate Alive" featuring Tony Conrad, Zappi & Jean-Hervé of Faust and Jim O'Rourke was released in Autumn 2005. This recording is considered by many to be more successful than the 1972 studio version with Jean-Hervé playing so hard he snaps a bass string and shreds his fingers.

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