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Die Wilde Jagd

Die Wilde Jagd

    Music from the "Rauhnächte" - DIE WILDE JAGD go hunting in the thicket of Neo-Krautrock, Electronica and Synthpop.

    Every year anew, during the Rauhnächte (those harsh nights between Christmas and Twelfth Day), the Wild Hunt (Die Wilde Jagd) rides across the country: raucous, jeering hunters from the nether world, whose path it is better not to cross. This is an ancient Germanic myth, which, in slightly varied form, is known in many parts of Europe and whose name Ralf Beck and Sebastian Lee Philipp have aptly chosen for their new project. The two first met in 2006 in Düsseldorf's Salon des Amateurs , a meeting place for new and established experimental musicians and artists, also known as Germany's "postpunk Hacienda". It seems no coincidence that Düsseldorf is the duo's founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, the Krupps and Propaganda. Since their first meeting, Beck and Philipp regularly come together during the time of the Rauhnächte to record in Beck's well-equipped studio. Using the numerous analog keyboards and recording devices assembled there, and combining them with a diverse range of percussion instruments, they create their own "hunting music", which at times sounds unsettling, like swampland or a dark forest, but also urgent and pressing, like incandescent lasers or a hypnotic dance. Their soundscape is marked by repetitive guitar loops, electronic percussion, drums and synthesizers. Booming tom-toms and medieval-sounding flutes herald the start of the hunt. Whispering, reciting voices conjure up the spirits of the woods, while synthetic sounds, melodies and noises flit about before they are re-captured, structured and grounded by crystalline beats and pulsating bass lines.

    About the musicians: Ralf Beck is a musician and producer from Düsseldorf. He has released several albums as part of the duo Nalin & Kane, as well as under the name Unit 4. He collects old synthesizers and effect pedals and has already worked together with Karl Bartos. In his studio Uhrwald Orange he has recorded music by Propaganda, Kreidler, Black Devil Disco and many more.

    Sebastian Lee Philipp is part of the Berlin-based electro-wave duo Noblesse Oblige and composes music for theatre and radio plays. Between 2001 and 2006 he lived in London where he ran the club night "Caligula" and performed as a DJ.


    1 Wah Wah Wallenstein (7:46)
    2 Austerlitz (7:24)
    3 Torpedovogel (3:59)
    4 Durch Dunkle Tannen (4:56)
    5 Der Elektrische Reiter (6:45)
    6 Morgenrot (6:27)
    7 Jagd Auf Den Hirsch (7:25)
    8 Der Meister (4:18)

    Schneider Kacirek

    Radius Walk

      Another dose of whirring rhythms and dark drones courtesy of Stefan Schneider and Sven Kacirek. This time around they have introduced the beguiling tones of Swedish singer Sofia Jernberg on three pieces, taking their music to a new level.Since their debut release, they have toured extensively with the likes of John McEntire (Tortoise, The Sea and Cake).A fascination with repetitive rhythm is the common thread which runs through the musical development of both musicians: listen to Stefan Schneider in his other projects, the bands Kreidler and To Rococo Rot and his albums with Hans-Joachim Roedelius. Further evidence can be heard on Kacirek's solo albums, in particular on his much-lauded "Kenya Sessions". 


      Zuckerzeit - 50th Anniversary Edition

        In 1974, Cluster entered the sugar era. This doesn’t mean that they had finally arrived in their promised land, but they had simply moved from Berlin to the country, to a small place called Forst on the river Weser. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit (“sugar era”) launched a revolution for Cluster.

        Strictly speaking, Zuckerzeit is not ­really an album by Cluster. More pre­cisely, the LP contains two mini solo al­bums by Moebius and Roedelius. Those who were familiar with the stylistic pe­culiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. What could be clearly heard, though, was that there were two different musical attitudes to be found on one album. One thing they did have in common was the consistent use of the analogue rhythm machine. This was something new for Cluster inasmuch as on their last album Cluster II, they had still focussed on completely different methods that were to give structure to the pieces. Zuckerzeit, on the contrary, is designed in a clearly rhythmical way: a rhythm machine, triggered synths and harmonic patterns played by hand inspired life and imagination on the melody lines: This was different as well. Once again, Roedelius and Moebius took on work in such a remarkably light-hearted and down-to-earth manner as was typical of Cluster. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster man­ aged to keep both feet on the ground without becoming plain or even sterile.

        The friendliness of the music is clear­ly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album’s co-producer. Michael Rother had already performed with Kraftwerk and had founded the band NEU! together with Klaus Dinger before moving to idyllic Forst himself in 1973. The same year, the band Harmonia (Roedelius, Moebius, Rother) was born. The music might also have been influenced by the lovely environment of the hilly countryside surrounding them. We are told that some of the visitors to Forst had believed themselves in Tolkien’s Shire, although nobody had ever seen hobbits in the area. Maybe this impression was an all too romantic one.

        Yet, those who have experienced this peaceful atmosphere for themselves may at least be able to understand what we are talking about.

        By then, Cluster could finally call themselves lucky owners of their own recording equipment consisting of a multi-track recording machine, a mixer and peripherals. This gave them the possibility to develop and record their Zuckerzeit material without precipitat­ing things or having to depend on other people. So they did everything on their own except for the finishing which took place in the studio of Conny Plank, the sonic magician of their early days, something which vitally accounted for a successful outcome by the way. One has to admit that technical equipment at Forst was not quite up to the standards even of that time. Moebius and Roedelius, however, knew how to make use of the devices they had in such a skilful way that it almost seemed ob­solete to consider working in large and professional studios in the future. So, many years were yet to go by until Cluster set foot in a studio other than their own again, this time not only to do the finishing but also the recordings.

        When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking (2’20” to 6’10”). Listeners who were expecting long and booming pieces were badly advised with this album—what kind of trip is this that lasts for six minutes only? Those who loved listening closely and who were fond of sophisticated, varied and elaborate music could not be more satisfied though, because every single one of the ten pieces is far from being boring. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of ­losing themselves in long-windedness, that they took their time working on the album and not least that they could rely on the ideas of their co-producer Michael Rother —all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today. Nothing reminds us of psychedelic music that was common at the time. Instead, we find transparency, a hint of utopia and above all new sounds and noises, something which was unheard of in popular music until then. Even fifty years after its first release, Zuckerzeit might easily figure as a reverberating chapter in the latest edition of the imaginary handbook “The Golden Rules of Electronic Music”.


        A1 Hollywood
        A2 Caramel
        A3 Rote Riki
        A4 Rosa
        B1 Caramba
        B3 Fotschi Tong
        B4 James
        B5 Marzipan
        B6 Rotor
        B7 Heiße Lippe

        Martin Rev

        Martin Rev - 2024 Reissue

          In the beginning. Martin Rev's eponymous debut solo record was released in 1980, not long after the second Suicide LP appeared. It is one of the most seminal albums to have emerged in the early years of electronic music.

          Karl Bartos

          The Cabinet Of Dr.Caligari

            Musician and writer Karl Bartos has long been admirer of Weimar-era culture. During his time in Kraftwerk, he helped create the stunning track 'Metropolis', directly inspired by a band viewing of the classic 1927 Fritz Lang film of the same name.

            The original orchestral music composed for The Cabinet of Dr. Caligari by Giuseppe Becce had long been lost and in 2005, after watching the film, Bartos imagined what it would be like to create an entirely new one in the 21st Century in his home studios in Hamburg. Now with crystal clear images, digitally restored by the Friedrich-Wilhelm -Murnau-Foundation, the film is visually the best quality it has ever been, and now, with Bartos' soundtrack, there is impressive sound to go with the haunting vision. Narrative film music and sound design for Robert Wiene's classic 1920 psychological thriller.

            For the task, Bartos ransacked his own library of musical compositions, recreating pieces he had written as a young classical musician in his pre-Kraftwerk days whilst creating new sounds, melodies and textures. The intention was not simply to write a film score per se. This was to be an immersive listening experience with special sound effects to match the action as we enter the film as both spectator and participant. A creaking door, footsteps on gravel, the turning of pages in a ledger, a half-heard fragment of dialogue are seamlessly synchronised to the action on screen. By taking the characteristics of Expressionism in the arts, and transferring them into film making, a disturbing, distorted depiction of reality enwrapped and entrapped the viewer.

            The subjective replaces the objective. We are sucked into a parallel world lit in menacing chiaroscuro, where dimension, proportion and perspective are all off skew. From the convex polygon-shaped windows of precipitously sharp-inclined buildings to the surreally odd tables and chairs with long spindly legs to be found in preposterously small and oddly shaped rooms, alienating camera angles and impossible vanishing points, the town of Holstenwall in which much of the action takes place, is the world of the imagination, not the empirical world of our own eyes and ears. 'The cinema image must become an engraving,' the film's set designer Hermann Warm said. We can hear melodies that lie within the tradition of the Baroque Age of Bach, the early Romanticism of Mozart, the dissonance of Schoenberg, the unsettling metric play of Stravinsky and the harshly dramatic repetitions of Philip Glass.

            From outside of the classical tradition there is the folklorist bricolage of the fair- ground barrel organ tempered playfully by some psychedelic backwards musique concrete along with some melodies which would not have been out of place on a Kraftwerk album from the classic era. All the time the listener is on a journey, sounds move in and out, music weaves and entwines, the soundscape is immersive and intoxicatingly rich. It is music which is, by turns, beautiful, amusing, playful and profoundly dis- quieting and it is perfect fit for the aesthetic of era-jumping in the actual film. Dr. Caligari's action switches from the then present day to the past century and even further back before rebooting back to the imagined present. 'There's something about this film. No matter how often you watch it, it keeps its secrets. Who is mad and who is not always remains a question of interpretation,' says Bartos. The film remains an enigma, but now one with the soundtrack and soundscape it deserves.

            STAFF COMMENTS

            Barry says: It's a classic format isn't it, wise synth maestro crafts found-sound collage (in this instance it's his own 'lost sounds' that got 'found'), over classic psychological thriller. It's on Bureau B, and Karl Bartos and it's an absorbing and beautifully crafted listen. What's not to love.

            TRACK LISTING

            1. Prologue
            2. Scary Memories
            3. Atonal Floating
            4. Full Of Life
            5. In The Town Hall
            6. At The Funfair
            7. A Mysterious Crime
            8. At The Funfair 2
            9. The Cabinet Of Dr. Caligari
            10. Jane's Theme
            11. March Grotesque 2
            12. Janeâs Theme 2
            13. Shadows
            14. Tragic Message
            15. Suspicion
            16. Tragic Message 2
            17. The Plan
            18. A Dark Figure
            19. Caligari's Theme
            20. Arrest Of The Suspect
            21. Caligari's Theme 2
            22. Worried Jane
            23. Interrogation
            24. Jane's Fear
            25. Francis's Observation
            26. Cesare's Attack And Escape
            27. Safe And Sound
            28. Francis At A Loss
            29. Caligari's Deception
            30. Lunatic Asylum
            31. In Search Of The Truth
            32. Out In The Field
            33. The Director Rants And Rages
            34. Scary Memories 2
            35. Who's Mad Here?
            36. Francis Rants And Rages
            37. Epilogue


            Twists (A Visitor Arrives)

              Kreidler's seventh long-playing record for Bureau B is an affair of electronic pop music nurtured in now-clubs and rooted in Rhenish kraut, British post-punk (with a touch of NYC and Brussels) and international polyrhythm. In the 30th year of the band's history, on Twists (a visitor arrives) "Düsseldorf's second most famous band" (Boomkat) collaborated on four of the nine tracks with guests Khan Of Finland, Maxim Bosch, Natalie Beridze and Timuçin Dündar. They left the cover design in the hands of Fette Sans.

              Welcome to Kreidler's postpostpostpostpostpostpostpostmodern album!

              The band has been around for 30 years now. And I've gotten into the habit of synchronizing the phases of my life with the respective current Kreidler album. It’s a game I've come up with – my checkup: I listen. And this listening does something to me. And there I have to name this something, I have to mark it, find words. Then I treat the record like a symphony. And I envy Thomas Klein, Alex Paulick and Andreas Reihse, because they can tell stories with music even without stories – unlike in my profession of filmmaking, where it's always about stories for the story. So here I write my libretto for an album that probably wanted to tell something else. Because what Kreidler had in mind, I don't know. Kreidler don't know it either. There's nothing to guess, it's about giving another life to something inside you and this other will be a completely different child. And that is the most beautiful sign that something is interesting and exciting. I don't know anything about the source of this music, but I can check how my perception is to the perceptions of the band that translated it into the medium of music.

              (Zaza Rusadze)
              + Zaza Rusadze is a renowned director and filmmaker who also works in theater. In 2020, together with Andreas Reihse, he won the MUVI Award for Best German Music Videoat the International Short Film Festival Oberhausen for directing the video Kreidler – Eurydike +

              TRACK LISTING

              01. Polaris
              02. Tanger Telex
              03. Diver
              04. Loisaida Sisters
              05. Arithmétique
              06. Hands
              07. Hopscotch
              08. Mount Mason
              09. Kandili


              Tonspuren - 2023 Reissue

                By 1969 at the latest, Dieter Moebius was synonymous with the avant-garde electronic music scene in Germany. He and Hans-Joachim Roedelius formed Cluster, a seminal electronic/ambient duo, whilst Moebius was also a member of the so-called Krautrock supergroup Harmonia (with Michael Rother and Roedelius), as well as collaborating on various other projects with the likes of Brian Eno and Mani Neumeier from Guru Guru. Somehow, it took Moebius until 1983 to release his own solo debut album, Tonspuren.

                Tonspuren is an album of minimalisms, miniatures and stringent form, ten consistently concise and precise pieces. Moebius develops tonal variations out of minimalistic, rhythmic, harmonic basic tracks, sometimes coming close to tangible melodies. Yet this is exactly the point at which he purposely steers clear of electronic pop criteria. Nevertheless, Tonspuren is a pop album, its radically stripped down contents replenished with harmonious elements of prevalent popular music.

                Echoes of Cluster notwithstanding, the music of Tonspuren is a separate entity altogether. Moebius seems to be avoiding improvisation as the devil keeps his distance from holy water. Each piece is thoughtfully composed, as Moebius crafts his miniatures layer by layer. Spontaneous inaccuracies have no place here, noise escapades are nipped in the bud. Baroque, folklore and frivolity are not admitted into the studio when the red light is on.

                Thanks to Tonspuren, the keen listener now has the opportunity of direct comparison in his appraisal of the solo albums of Dieter Moebius, Hans Joachim Roedelius and Michael Rother. What role did each of the Harmonia triumvirate play in creating the style of the supergroup? Tonspuren thus represents a vital piece of the Harmonia puzzle.

                TRACK LISTING

                01. Contramio
                02. Hasenheide
                03. Rattenwiesel
                04. Transport
                05. Etwas
                06. Nervös
                07. B 36
                08. Furbo
                09. Sinister
                10. Immerhin

                Holger Hiller

                Ein Bundel Faulnis In Der Grube - 40th Anniversary Edition

                  Holger Hiller presented his solo debut having left Palais Schaumburg. Originally released in 1983 on the Düsseldorf scene label Ata Tak, an international release followed in 1984 via Cherry Red Records. Combining electronic sequencer sounds and sampling fragments with unconventional lyrics its multidisciplinary approach locates it somewhere between the pop and avant-garde. Bureau B is now making the work accessible again on its 40th anniversary.

                  Martin Rev

                  The Sum Of Our Wounds - Cassette Recordings 1973-5

                    The archetypal Martin Rev sound – a perennial influence on generations of musicians – is most prominently in evidence in the works of Suicide, the duo he played in across the decades with Alan Vega. However, the radical and distinctive nature of his music can be traced further back in time, originating in the base energy of rock’n’roll which the teenage Rev experienced as the ubiquitous soundtrack to his home city of New York.

                    Rev initially explored free jazz and similarly free forms of musical expression before discovering the magnetic attraction of electronic production and instrumentation, enabling him to create music in a wholly independent and autonomous environment. Using the most rudimentary equipment, he grafted the roots of rock’n’roll into the process of combining effects and devices to generate electrified sounds, the likes of which had never been heard before. This music would map out the way forward not only for Suicide, but also for a fascinating solo career.

                    Martin Rev’s predilection for experimentation knew no bounds. At home, he played around with rough ideas, trying out all manner of variations and colorations. These tape recordings provide a captivating insight into his modus operandi, often representing the early stages of what would later become Suicide tracks or cuts on Rev’s solo albums.

                    Spanning the period 1973 to 1985, the recordings on "The Sum of Our Wounds" are much more than a collection of demos and outtakes. One has the sense of listening to a rounded album of familiar compositions, now portrayed in a completely new light. The brittle fragility of these cassette pieces reveals a deep-lying sensitivity, like a collection of wounds.

                    Martin Rev himself remains as transfixed as ever by these recordings, as if he could immediately pick up where he left off and continue to expand on the ideas that came to him decades ago: »They often have a certain freshness or unpolished energy here... and (there is) always scope for new ideas, to be derived from them as a whole or even in small areas.«

                    The cassette medium proves to be more than a means to an end – the tape recorder itself has a role to play as an instrument, the ideal basis for an artist who understands how to condense an idea into its fundamental elements: »The cassette sound, with its individual peculiarities, many even thought of in terms of inferior sound, can have an interesting dynamic. Maybe especially in certain minimal contexts when they are not being overloaded. Although they often seem to take on a lot of texture as well and with a warm response.«

                    And so these snapshots can be seen as stages of a ceaseless evolution, one we are allowed to witness as we sit alongside Martin Rev at the tape deck, listening as he captures the sounds of the unquiet city. - Daniel Jahn, June 2023

                    TRACK LISTING

                    01. Yearning
                    02. Dreams
                    03. Skateboard
                    04. Laredo
                    05. Zeitpunkt
                    06. Rio Grande
                    07. Baby O Baby (Mix)
                    08. Abracadabra
                    09. Lineup
                    10. El Barrio
                    11. She's Back
                    12. Temptation (Mix)
                    13. Asia (Mix)
                    14. Around The Corner
                    15. Mari (Mix)
                    16. Whisper (Vocal)

                    Conrad Schnitzler

                    Rot - 50th Anniversary Edition

                      Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Beuys and Stockhausen, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums - The red album from 1973 was Schnitzler's first solo LP.

                      There was a particular type of artist who could only have emerged in the legendary early 1970s. Few musicians fit the bill better than Konrad Schnitzler. Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experiment- ation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were "subcultur", "progressivity" and "avantgardism". West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak was the ultimate point of convergence for subculture in West Berlin, with Konrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met up to perform in public.

                      The red album ("Rot") was Schnitzler's first solo effort. As a member of Tangerine Dream, however, he had participated in the band's debut release "Electronic Meditation" some three years earlier (1970). He, Dieter Moebius and Hans-Joachim Roedelius had also already founded Kluster, whose first album "Klopfzeichen" attracted a wealth of attention. On "Rot", meanwhile, Schnitzler uncompromisingly pursued his very own vision of electronic music. As an acolyte of action and object artist Joseph Beuys, Schnitzler embraced the former's "extended definition of art", in which controlled randomness assumed an important role. Schnitzler actually extended the concept of "music". Or to put it another way: he cared not one iota for existing rules of music, preferring to create his own or conceptualizing a certain degree of lawlessness. Improvisation grew in importance. The most exciting aspect of Schnitzler's music is not the fact that he only used synthetic sound and noise; the apparently chaotic movements of his microscopic particles of sound draw the listener into a paradoxical, yet also crystalline and vibrant artistic world. It doesn't get much more outlandish than this. Schnitzler's debut surpassed virtually every other pioneering artist of the day in terms of radicalness. Not content merely with making psychedelic soundtracks, he turned these on their head with his defiant artistic will. The rigour of his approach has never been matched. Schnitzler's inimitable cascades of sound and their transparency were, and remain, unique.

                      TRACK LISTING

                      Side A
                      Side 2

                      Various Artists


                        Over the last ten years a strange mycelium was sprouting from the ground of Germany’s sound topography, going widely unnoticed while creeping its way up through the copse of the ubiquitous “Neo-Kraut”, “Diskurs-Pop” and the like. We’re talking about a small underground network of artists and projects with poetic, mysterious names such as Brannten Schnüre, Baldruin, Kirschstein, Freundliche Kreisel and Balint Brösel. Operating in the margins and intersections of folklore, experimental electronics, dreams and nightmares, the “Gespensterland” LP archives and compiles their magic works for the very first time and already today it stands as a contemporary testament with an auratic presence comparable to that of Pordenone’s “Great Complotto”.

                        Various Artists

                        Klar! 80 - 2011-2022

                          This compilation represents an initial – and long overdue – foray into the years 1980 - 82, when KLAR! 80 was a cassette label, paired with a shop of the same name in Düsseldorf. Founded by Rainer Rabowski, KLAR!80 released 18 cassettes of varying length and a box set containing three 12” vinyl Eps which fetch handsome prices among collectors nowadays.The KLAR!80 - Ein Kassettenlabel aus Düsseldorf 1980-1982 collection reaches even further back in time than the SAMMLUNG - Düsseldorfer Kassettenmusik 1982-1989 (BB236/2017) collection, similarly curated by Stefan Schneider, which focused on the mid-1980s Düsseldorf cassette scene. It captures the brief period between the end of punk and the looming capitalisation and digitalisation of so many aspects of life.

                          Various Artists

                          Silberland Vol. 2: The Driving Side Of Kosmische Musik 1974-1984

                            Welcome to Silberland - where the streets are paved with strobes. Home to neon lights, straight lines and open roads, this futurist fantasy was first founded in the mid-seventies, when Germany’s creative class chose musical therapy in order to indulge their shared hallucination of a new Europe. Fuelled by the catalytic fusion of globalisation and new technology, the world was turning ever faster and the kosmische generation were ready to keep the pace. With synthesisers, rhythm computers and human metronomes turned to a gallop, these electronic innovators set modernity to a motorik beat, and Bureau B’s second trip into Silberland cuts right to the thrust of the genre.

                            The set begins with the propulsive opener from Harald Grosskopf’s 1986 LP Oceanheart, in which pristine sequences play in counterpoint atop a mechanical kick, hurtling forward until the rest of the kit catches up. Live drums take centre stage for Cluster’s feverish “Prothese” and the time travelling “Elektroklang” by Conrad Schnitzler, which foreshadows industrial and techno innovations while maintaining a primal punch. You offer astral ascension on “Son Of A True Star”, weaving proggy square waves and pulsating arps around an irresistible shuffle from mysterious percussionist Lhan Gopal (Grosskopf in disguise), before the optimistic “Für Dich” fuses classic kosmische chords with Thomas Dinger’s pummelling beat. Asmus Tietchens’ detuned keys and drum machine samba are imbued with a punk spirit shared by Moebius Plank Neumeier’s discordant jazz-tanz jam “Search Zero”. “Beat For Ikutaro”, plucked from a mid 80s demo tape by Camouflage keyboardist Heiko Maile, swerves into icy electroid territories where moonlit melodies ride robotic riffs and a whirring low end. The cassette energy continues with the mechanised boogie of Lapre’s “Flokati”, a funkier take on the style in wonderful contrast with Adelbert Von Deyen’s breakneck, straight shooting “Time Machine”, a massively motorik night drive down the A7 which finally runs out of gas at the compilation’s midpoint. Günter Schickert takes us inside the fuel pump on the weird and watery “Puls”, while the charmingly disruptive Faust complete the pitstop via the blasted blues of “Juggernaut”, a fuzzbox stampede which builds from ratchet whirrs to a V8 purr in no time at all. Moebius & Plank return sans Neumeier for the deep and dubby “Feedback 66”, all murmured vocals and surging pedals powered by a seismic bassline from Holger Czukay, whose collaborations recur throughout the duo’s 1980 classic Rastakraut Pasta. Wheels spun and rubber burned, we move up through the gears via the airy tones of Roedelius to arrive at the high tension electronics of Serge Blenner’s “Phonique”, an anxious amalgam of insistent percussion and agitated sequences from the French import’s 1981 release. Moebius & Beerbohm’s “Subito” follows in a flurry of tribal drumming, guttural distortion and corrosive drone, a synthesised translation of punk spirit which mellows into the soft focus serenade of Tyndall’s “Wolkenlos”, a thrilling contradiction of pastoral motifs and breathless tempo. Pyrolator’s 1981 creation “180°” maintains the lightening pace, lurching forward in bursts of chaotic drum programming and sampler abuse, sending us spinning out into the strange beauty of Die Partei’s “Guten Morgen In Köln”. Enmeshing fragments of musique concrète and yearning guitar with throbbing sequences and a rigid rhythm grid, the duo signpost a melodic destination finally delivered by Streetmark keyboardist Dorothea Raukes under her Deutsche Wertabeit alias. A fitting finale, “Auf Engelsflügeln” radiates human warmth and cosmic wonder, serving electronic emotion from start to finish.

                            STAFF COMMENTS

                            Darryl says: Bureau B are one of the greatest labels in the game, and responsible for some of the greatest records in electronic music history, so when they bring you a compilation, you listen. Every bit as brilliant as you'd expect, this is a beautifully curated and perfectly paced cosmic synth tome.

                            TRACK LISTING

                            01. Harald Grosskopf - Eve On The Hill (bureau B Edit)
                            02. Cluster - Prothese
                            03. Conrad Schnitzler - Elektroklang
                            04. You - Son Of A True Star (bureau B Edit)
                            05. Thomas Dinger - Für Dich (bureau B Edit)
                            06. Asmus Tietchens - Bockwurst á La Maîtresse
                            07. Moebius Plank Neumeier - Search Zero (bureau B Edit)
                            08. Heiko Maile - Beat For Ikutaro (Tape 52) (bureau B Edit)
                            09. Lapre - Flokati (bureau B Edit)
                            10. Adelbert Von Deyen - Time Machine
                            11. Günter Schickert - Puls (bureau B Edit)
                            12. Faust - Juggernaut
                            13. Moebius & Plank - Feedback 66 (bureau B Edit)
                            14. Roedelius - Band 068 3 Bock Auf Rock (nicht Verwendetes Stück)
                            15. Serge Blenner - Phonique
                            16. Moebius & Beerbohm - Subito
                            17. Tyndall - Wolkenlos (bureau B Edit)
                            18. Pyrolator - 180°
                            19. Die Partei - Guten Morgen In Köln
                            20. Deutsche Wertarbeit - Auf Engelsflügeln (bureau B Edit)

                            CEL (Felix Kubin & Hubert Zemler)


                              Gegenwelt (Parallel World) is the second LP by CEL, a duo Kubin and Zemler formed. More melodically evolved than their eponymous 2020 debut, it is an even more explicit example of the syncretic impulse that impelled these guys to form the band. Their basic notion was to explore the juncture between two streams of German underground sounds -- the Motorik 4/4 rhythms first posited by Can's Jaki Liebezeit and Kraftwerk's Klaus Dinger, and the sequencer-driven brain loops of early, experimental pioneers of the NDW, such as der Plan.

                              Station 17

                              Oui Bitte

                                After a period of distance Station 17 just wanted to stand in a room together again and make some music, so they drove out of Hamburg to a remote site in the hills of the Hohe Geest in Schleswig-Holstein and played some new song sketches together – all day and late into the night. Afterwards they wanted to play the results live at a concert in Fabrik, a venue in Hamburg.

                                No one in the band expected that the sessions would result in an entire album, but the music told them once again: what had been created here in the radiance of the moment could not be reproduced. A moment of happiness for the band collective. "Oui Bitte", Station 17’s 11th album had been born – quite unexpectedly, between pool and trout pond

                                Conrad Schnitzler & Ken Montgomery

                                Cas-Con II

                                  Konzert in der Erlöserkirche, Ost-Berlin, 3.9.1986 In 1982 Schnitzler had already met the New York musician Ken Gen Montgomery, who then regularly performed Schnitzlers' compositions live at various venues worldwide. And so Schnitzler also produced 4 cassettes especially for his concert in East Berlin, which were sent by courier from West to East Berlin. On the evening of 3.9.1986, the privately announced and illegal concert took place in the Erlöserkirche in East Berlin/GDR. Montgomery mixed Schnitzler's music live from the tapes. The elaborately restored original recording is now being released for the first time on LP and CD.

                                  Tin Man


                                    Renowned acid cosmologist Johannes Auvinen, best known by his alias Tin Man, leaves the club floor behind for a full-length kosmische excursion on Bureau B. Since his first Tin Man records nearly 20 years ago, Auvinen has impelled acid—in the grand tradition of Phuture and co.—into shapes and forms heretofore uncharted. He does it again on his latest, "Arles," exploring a new realm of impressionistic beauty where pristine, heartfelt melodies dance delicately atop austere motorik rhythms. It's a trip you'll want to take again and again.


                                    Momentaufnahme I

                                      Originally part of 2021’s Faust Box Set release commemorating the bands 50th anniversary Momentaufnahme I and II are now set for their own stand alone release by popular demand. This is for all those that missed out on the limited edition box set release. They collect together music recorded at the band's studio - a converted schoolhouse in rural Wümme between 1971 and 1974 in a similar vein to the way in which 'The Faust Tapes’ (released in 1973) was assembled. These two albums range from minimal electronic pulses, ambient dreamscapes, vocal collages to heavy drone, ritualistic percussion and psychedelic grooves. Highlights include the hypnotic space jams of ‘Vorsatz’ and ‘Rückwärts Durch Die Drehtür’, the delicate acoustics of ‘I Am… An Artist' and the radiophonic workship-esq 'Weird Sounds Sound Bizarre‘.

                                      Let’s let founding member Jean-Hervé Peron explain more…. Faust were originally a group of musicians, each following our own inspirations, desires, illusions: many facets, many directions, different styles, different languages. We often had to struggle with the clash of our egos but there was also a natural tacit understanding of each other's role. We had the privilege to work with a great producer and an extraordinary recording engineer. From spring 1971 to spring 1974 we existed as a group. Then Faust became a Gestalt with various incarnations. Momentaufnahme? Don't panic here, it is only German for 'Snapshot’. Momentaufnahme I and II present a collection of unreleased snapshots which offer a wonderful insight into the world of Faust. Some tracks are extremely raw and experimental, others are fully rounded productions. So far we have MA I and MA II but we plan to do more of these when we come up with more material or new ideas.

                                      TRACK LISTING

                                      01. Naja
                                      02. Flaflas
                                      03. Es Ist Wieder Da
                                      04. Mechanika
                                      05. Weird Sounds Sound Bizarre
                                      06. Karotten
                                      07. RéMaj7
                                      08. Fin De Face
                                      09. Vorsatz
                                      10. Acouphènes
                                      11. Interlude 18. Juni
                                      12. Dadalibal
                                      13. Bonne Soupe Au Fromage
                                      14. Rückwärts Durch Die Drehtür


                                      Momentaufnahme II

                                        Originally part of 2021’s Faust Box Set release commemorating the bands 50th anniversary Momentaufnahme I and II are now set for their own stand alone release by popular demand. This is for all those that missed out on the limited edition box set release. They collect together music recorded at the band's studio - a converted schoolhouse in rural Wümme between 1971 and 1974 in a similar vein to the way in which 'The Faust Tapes’ (released in 1973) was assembled. These two albums range from minimal electronic pulses, ambient dreamscapes, vocal collages to heavy drone, ritualistic percussion and psychedelic grooves. Highlights include the hypnotic space jams of ‘Vorsatz’ and ‘Rückwärts Durch Die Drehtür’, the delicate acoustics of ‘I Am… An Artist' and the radiophonic workship-esq 'Weird Sounds Sound Bizarre‘.

                                        Let’s let founding member Jean-Hervé Peron explain more…. Faust were originally a group of musicians, each following our own inspirations, desires, illusions: many facets, many directions, different styles, different languages. We often had to struggle with the clash of our egos but there was also a natural tacit understanding of each other's role. We had the privilege to work with a great producer and an extraordinary recording engineer. From spring 1971 to spring 1974 we existed as a group. Then Faust became a Gestalt with various incarnations. Momentaufnahme? Don't panic here, it is only German for 'Snapshot’. Momentaufnahme I and II present a collection of unreleased snapshots which offer a wonderful insight into the world of Faust. Some tracks are extremely raw and experimental, others are fully rounded productions. So far we have MA I and MA II but we plan to do more of these when we come up with more material or new ideas.

                                        TRACK LISTING

                                        01. Danach
                                        02. Gegensprechanlage
                                        03. Lampe An, Tür Zu, Leute Rein!
                                        04. Purzelbaum Mit Anschubsen
                                        05. Tête-à-Tête Im Schredder
                                        06. Dampf
                                        07. Testbildhauer
                                        08. I Am... An Artist
                                        09. Wir Wollen Mehr Volumen Kriegen
                                        10. Arrampicarsi Sul Vesuvio
                                        11. …und Alles Durcheinander
                                        12. The Fear Of Missing Out
                                        13. Ma Trompette
                                        14. As-tu Vu Mon Ombre?

                                        Die Wilde Jagd


                                          For eight years now, songwriter and producer Sebastian Lee Philipp has been steering his project Die Wilde Jagd through the field of tension between contemporary electronic music and avant-pop. Between 2015 and 2020, three studio albums were produced as documents of Philipp's rigorous musical creativity. Most recently, «Atem», a composition for Roadburn Festival, was released in 2022, documenting yet another, more experi- mental side of the project. On the new, eagerly awaited fourth album, all these multi- faceted worlds are brought together in an impressive way.

                                          «Ophio, Ophio» you say. Lies in the end of you Still the best ahead of me? With these lines from the title track, Sebastian Lee Philipp poses the question that spans over the entire album like a parenthesis. The work entitled «ophio» tells of constant trans- formation, the blurring of beginning, end, and the various dimensions in between.

                                          «It's about the constant unfolding of the self, about the seductive forces of life, an ode to existence and the transformation to happiness.» Says Philipp himself about his concept- tual direction of the album. The meandering between leaving behind and starting anew is not only found in the lyrics, but also in the music itself. The production seems more consistent than ever before, stripping away all frills and trinkets, like a skin that has become too tight. The compositions form a concentrate in which every single sound finds its space. In a certain sense, it's like listening to an introspection in which the bundled voices become a single, demanding murmur that is both drone and whisper in equal measure.

                                          I see you in blows of delight
                                          Where have you been?
                                          Make my eyes to love the things that want to love
                                          (From «In Wonnenhieben», engl. «In Blows of Delight»)

                                          As on the previous album «Haut», the drums were played by long-time stage partner Ran Levari. The new album also features cellist and singer Lih Qun Wong («Lihla»), who first joined Die Wilde Jagd for the Live performance of «Atem». This collaboration sounds particularly impressive on «The Hearth», the band's first English-language song. A beguiling track as if of shiny, heavy tar, carried by Philipp's dense composition, Levari's pulsating beats and lyricist Wong's voice. Other production partners were Philipp Otterbach («Kelch») and Vactrol Park («In Wonnenhieben»). Nina Siegler, who could already be heard as a duet partner in the song «Himmelfahrten», also lends her voice again to the tracks «Ouroboros» and «In Wonnenhieben».

                                          When the journey ends after just under 50 minutes with the questions «Will your songs blind me again? Be sparkling eyes to me in the dark?» and dissonant choirs release you out into the distance, it's as if you're right back at the beginning again, only to set off once more. An album as strange as it is beautiful.

                                          TRACK LISTING

                                          1) Ein Anfang
                                          2) Ophio
                                          3) Perseveranz
                                          4) Gnafna Nie
                                          5) The Hearth (ft. Lihla)
                                          6) In Wonnenhieben
                                          7) Kelch
                                          8) Ouroboros

                                          Bonus 12":
                                          1. Obus
                                          2. The Hearth (Shelter Mix Ft. Lihla)
                                          3. In Wonnenhieben (Douce Mix Ft. The Allegorist)

                                          Tolouse Low Trax

                                          Leave Me Alone

                                            With "Leave Me Alone", Detlef Weinrich presents his fifth album under the moniker Tolouse Low Trax. Weinrich, who has meanwhile turned his back on Düsseldorf and lives in Paris, has long since ceased to be an insider tip and is a guest in renowned clubs and festivals all over Europe. With his new album, he succeeds in an exciting, unforeseen new direction. The velvety heaviness and rawness of earlier records seems to have given way to a new playfulness. A playfulness perhaps in the sense of an electronica reminiscent of the late 1990s, which in its idea of deconstruction and reduction is currently enjoying a new appreciation in the clubs. But also in the sense of an urban vibe of hip hop and dub references, which are woven into a very unique mix in Weinrich's tracks.

                                            Nervous mechanical murmurs, drifting comic-like through razor-sharp rhythm cliffs: welcome to "Leave Me Alone", a loop meta-level dreamland of styles and mental meteorology. A repetitive notion on the overwhelming speechlessness towards the world, its clocking, and all the despairs that come along with it. Wholly veiled in a sharp sonorous language, that brings a complete agreement of the expression with the idea, a sense of harmony, of a secret beauty, that often escapes the judgment of the crowd. It marks the latest longplayer by Tolouse Low Trax. After his stunning collaboration with French singer and hurdy gurdy player Emmanuelle Parrenin and myriad remixes for artists like Aksak Maboul, Ex Ponto, or Sebastian Tellier, he sharpened his artistic skills for a fresh musical treasure hunt. "Leave Me Alone" is a renunciation from the industrial slow drone zones, waving into spectacular decon- structed style collages.

                                            13 veiled drum machine experiments, featuring dubby jazz districts, hip-hop flair, haunting little melodies, and the TLT signature funk. Again, he listened to the prose of his rhythms deeply, connecting the tones, placing rhythmic commas judiciously, like stops on a long road. All obscured into a new, ironic, yet totally serious sound layout, that is mirrored in the minimalistic shaped cover art- work full of suggestions to ramified cultural meanings. For a wonder, this time almost no pocketed vocal samples in the TLT creations. Instead, freshly recorded spoken words and singing by Brooklyn based producer Chris Hontos aka Beat Detectives, poet and multidisciplinary artist Fran from Paris and Italian synthesist and singer Andrea Noce aka Eva Geist, chanting introspective verses and Pier Paolo Pasolini poems over rugged grooves and suggestive sounds, opening his creative universe into a crisp manic eroticism. A cluster of genres, dancing in a rebellious, blistering swing, whirling styles upside down with an overall atmosphere that is flourishing on a positive spirit. An accessibility unusual for TLT and his non- conformist MPC driven music. So, let’s leave him alone and get lost in a wavering jaunt that chase away angst and depression with smoky musical spells and dramatic interlocking beat patterns.

                                            TRACK LISTING

                                            1. Albatros
                                            2. How To Beat The Sea
                                            3. Gates
                                            4. Impure Nature
                                            5. I Would Prefer Not To
                                            6. My
                                            7. Non Giudicare
                                            8. Yellows
                                            9. A Great, Strange And Moving Work
                                            10. Ossia
                                            11. White Flicker
                                            12. Muddy Floors
                                            13. Bianca From Rome


                                            Cluster II - 50th Anniversary Edition

                                              Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded 10 regular studio albums between 1971 and 2009. Their debut album ("Cluster 71") was in Wire Magazine's "One Hundred Records That Set The World On Fire" list. Follow up, Cluster II, has now reached it's 50th anniversary and to celebrate bureau b are releasing a limited anniversary edition, vinyl only, gatefold sleeve limited to a 1000 copies.

                                              TRACK LISTING

                                              A1) Plas
                                              A2) Im Süden
                                              A3) Für Die Katz'
                                              B1) Live In Der Fabrik
                                              B2) Georgel
                                              B3) Nabitte

                                              Martin Rev

                                              Les Nymphes - 2022 Reissue

                                                Hazy dream chronicles.

                                                A Martin Rev album is always liable to spring a surprise. Think of the rough guitars which unexpectedly appeared on his 2003 release "To Live" instead of synthesizers.

                                                "Les Nymphes", which followed in 2008, saw Rev return to dream-laden melodic miniatures, but came from a resolutely more radical place than its predecessors. Once again, this work demonstrates the rigour of Martin Rev's approach, his willingness to embrace risk and his uncompromising rejection of a single aesthetic framework. "Les Nymphes" is, without question, the work of an artist who is constantly in search mode.

                                                Martin Rev

                                                To Live - 2022 Reissue

                                                  American indie label File 13 Records released what was already Martin Rev's sixth solo album in the autumn of 2003. The previous year, Rev and his musical partner Alan Vega had struck out in a new direction on their "American Supreme" album and Rev's solo works continued in a similar vein. If "Strangeworld" from the year 2000 actually felt more like a timeless abstract of Martin Rev's entire spectrum of musical influences,

                                                  "To Live", three years later, introduces more contemporary elements, including guitar samples for the first time. "To Live" is not easy to digest, a work of contradictions which marks a transition in Martin Rev's overall output as a child of its time, worthy of special attention in his legacy.

                                                  To Rococo Rot

                                                  John Peel BBC Sessions 97-99

                                                    Without a doubt, To Rococo Rot are an exception within the German music landscape. From 1995 until they broke up in 2014, the group around Robert Lippok, Ronald Lippok and Stefan Schneider researched a unique sound between electronic music, ambient, post-melancholy and the further development of a new, free music like krautrock. The trio was invited 3 times by John Peel to record radio sessions in the BBC. Available on record for the first time, which, in addition to the versions of selected album tracks, also contains exclusive, unreleased songs.

                                                    TRACK LISTING

                                                    Thomson Colour
                                                    Tour De Repechage
                                                    This Sandy Piece
                                                    A Little Asphalt Here And There
                                                    Rocket Fuel

                                                    Various Artists

                                                    Eins Und Zwei Und Drei Und Vier Vol. 2 - Deutsche Experimentelle Pop-Musik 1978-87

                                                      For their second foray into the fringes of German pop, Bureau B delve deeper than before, raiding cassette culture, 7" obscurities and overlooked album cuts to further frame this free- thinking strain of sonic expression. Starting the count from punk’s year zero, this set sees a newly liberated generation get weird and wild with anything they could lay their hands on, delivering demented, detuned and disorienting tracks brimming with DIY spirit. Where their kosmische predecessors preferred immersive, expansive compositions, these artists opted for immediacy, quickly capturing one idea before moving on to the next. Exploiting advances in home recording to say outside of industry confines, these art-school extroverts and commune drop outs often came together in unplanned collaborations and one off projects, capturing their whole creative lifespan on one side of a C45. As such, there’s a youthful charm to the sounds found on this compilation – an infectious combination of energy, expression and naivety running though each unlikely melody. This shift in approach and outlook even informed established acts, as evidenced by the perverse pop curiosities from Cluster and Moebius & Beerbohm lurking on the line up beside unreleased and un- remembered gems from the likes of Maria Zerfall and E.M.P.

                                                      Once again those expert selectors at Bureau B have done the hard work, digging deep to deliver a disparate, different and dissident side of German Pop Music. All you have to do is press play.

                                                      The sparse drum machine of ALU’s »Aludome« opens proceedings, laying the foundation for wavy guitar chords and simple melodies on this tender 1980 composition, which only came to light in 2005. From there we sink into the watery electronics, free jazz bass and abstract guitars of Detlef Diederichsen charmingly abrupt »Pissnelke 2000«, before Maria Zerfall moves us into the shadows with the dark and punkish dirge »Der Mond«, a haunting track with double tracked and distorted spoken vocals. Butzmann / Kapielski’s avant-dance masterpiece »Do The VoPo« diverts us to the dance-floor, where the oddball synth sounds and skewed sampler vox of Rüdiger Lorenz’ »Francis & Friends« traps us in a strange slow motion groove. The tempo raises via E.M.P.’s dubbish sabotage of 80s smooth jazz, turns inside out on Vono’s charming interlude “Der Zauberer”, then finds its feet again via Reichmann’s ’78 composition »Wunderbar« taken from the Sky LP of the same name. This frazzled fusion of cosmic country and Asiatic melody shares a widescreen worldview with Deux Baleines Blanches’ »Draht 9«, on which post punk electronics and chiming guitars combine with bittersweet beauty. The time-travelling Rolf Trostel takes us to the midpoint with pulsating chords which predate Basic Channel by a decade, while Phantom Band’s »Dream Machine« stitches together two decades of the psychedelic continuum in a riot of tumbling toms, panning sequences and brain melting waveforms. »Glucose« sees Moebius & Beerbohm unleash their strange music at a delinquent tempo, before Jimmy, Jenny + Jonny offer a second subversion of smooth jazz with their skronking Mediterranean fantasy »Salome«. Thomas Dinger’s frosty music box romance »Alleewalzer« and The Wirtschaftswunder’s stomping ska-like »Television« follow in quick succession, leading us into Cluster’s narcotic fairground »Oh Odessa«, a queasy assemblage of detuned FM bells and percussive piston bursts. From there, the dubbed out post punk of Sprung Aus Den Wolken, experimental dance of Notorische Reflexe and unhinged disco of Günter Schickert capture different ends of the alternative dance floor, before the pastoral outsider pop of Lapre’s »Septer« signs in a swell of yearning melody.

                                                      TRACK LISTING

                                                      01. ALU – Aludome
                                                      02. Detlef Diederichsen - Pissnelke 2000
                                                      03. Maria Zerfall – Der Mond
                                                      04. Butzmann / Kapielski – Do The VoPo
                                                      05. Rüdiger Lorenz – Francis & Friends
                                                      06. E.M.P. - Tanne-totSamba
                                                      07. Vono – Der Zauberer
                                                      08. Riechmann – Wunderbar
                                                      09. Deux Baleines Blanches – Draht 9
                                                      10. Rolf Trostel – Hope Is The Answer
                                                      11. Phantom Band – Dream Machine
                                                      12. Moebius & Beerbohm – Glucose
                                                      13. Jimmy, Jenny + Jonny – Salome
                                                      14. Thomas Dinger - Alleewalzer
                                                      15. The Wirtschaftswunder - Television
                                                      16. Cluster – Oh Odessa
                                                      17. Sprung Aus Den Wolken – Noch Lange Nicht
                                                      18. Notorische Reflexe – The Wisp
                                                      19. Günter Schickert – Leihst Du Mir Dein Ohr
                                                      20. Lapre – Septe

                                                      Conrad Schnitzler & Baal & Mortimer


                                                        Conrad Schnitzler is one of the great pioneers of electronic music. Here Baal & Mortimer constructs new music utilising Schnitzler’s archive. Instead of reworking the material on its own,she chose to find traces of melodies, harmonies, notes within it, using them as seeds to add and derive new compositions. Schnitzler’s archive became the foundation and departure point from which a process of accumulation and chiseling away started. Through playing things on wrong speed, stretching, or warping, fractal structures appeared, one unfolding out of the previous one, almost like chaos magick set in motion.

                                                        Sprung Aus Den Wolken

                                                        Sprung Aus Den Wolken

                                                          The Berlin project Sprung Aus Den Wolken was part of the "Geniale Dilletanten" movement in the early 1980s, along with Einstürzende Neubauten and Mechanik Destrüktiw Komandöh. The band first released an EP on ZickZack in 1981, followed by further releases on the band's own record label Faux Pas in 1982 and 1983. The track Pas Attendre was part of the soundtrack of Wim Wender’s movie Der Himmel über Berlin and thus became an underground hit. Bureau B is pleased to finally make the long out-of-print, self-titled album from 1982 available again. Carefully remastered, with reconstructed original artwork, numerous photos and liner notes by original member Alexander Hacke (later of Einsturzende Neubauten).

                                                          Krishna Goineau

                                                          I Need A Slow

                                                            Krishna Goineau was born in Sri Lanka In 1981 Goinau moved to Düsseldorf, where he met Christo Haas (former DAF member) and Beate Bartel (Einsturzende Neubauten founding member). He became the singer of the joint project Liaisons Dangereuses and lent his unmistakable voice to the band's big hit ("Los Niños Del Parque"). In 2007/2008 he worked at home with analog synthesizers on a series of songs that to this day have never been released. Electronic cut-ups and haunting compositions that sound as contemporary as they are detached from any zeitgeist. Bureau B is very pleased to finally make a selection of these lost recordings available with this collection "I Need A Slow“.

                                                            Die Welttraumforscher


                                                              When the Welttraumforscher (world dream explorer) started their journey on July 14, 1981, it was not foreseeable that it would last so long. For over 40 years now, Christian Pfluger from Zurich has been working with drawings, texts and songs on the idiosyncratic and fascinating universe of the imaginary trio. This has resulted in numerous cassettes, LP & CD releases.

                                                              Most recently, a two-part retrospective was released in the spring of 2021 on Hamburg's Bureau B, giving an insight into the wonderfully rapturous dream world of the project, which despite the continuous work remains something of an insider tip to this day. With their new collection "Liederbuch", the Welttraumforscher are going on tour for the first time in many years.



                                                                The musician Kurt Dahlke is not only a member of the bands Der Plan and Fehlfarben, founding member of the group DAF and co-founder of the label Ata Tak, but also is Pyrolator.The sixth album in Pyrolator’s Land series has a formal language all of its own, meandering between the beauty of crystal clear melodies and restrained ambient moments on the one hand and rugged, dystopian brittleness on the other. A cycle revolving between the hope of a revolution for humanity and arrival in no man’s land.


                                                                Kollektion 07 : Solo Works

                                                                  Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany. Alongside his bands Kluster/Cluster and Harmonia, he participated in numerous collaborations (with the likes of Brian Eno and Mani Neumeier/Guru Guru). Asmus Tietchens, one of his musical companions, compiled this collection for Bureau B – he concentrated on his solo works "as they offer the clearest insight into his personality and inventive potential".

                                                                  Various Artists

                                                                  Silberland Vol. 1 - The Psychedelic Side Of Kosmische Musik 1972-1986

                                                                    Fellow humans, Bureau B invite you on an expedition to Silberland, a singular span of spacetime created by Germany’s sonic futurists of the seventies and eighties. Embracing the early electronics and tape experiments of the sixties’ avant-garde, these artists aimed to boldly go, eschewing small steps for giant leaps into a nebulous and novel sound.

                                                                    Their music depicted the dynamism, energy and movement of the era - celebrating modern technology as both the medium and the message. Brimming with fractal sequences and shimmering textures, gaze fixed firmly beyond the limits of possible,there were aesthetic echoes of the visual arts of the early twentieth century. But where the Italian futurists’ rejection of the past paved the way for fascism, the kosmische generation emerged from the revolutionary student movement of ’67 and ’68, opposing any lingering political ties to Nazism and occupying the cultural vacuum which endured long after the post-war era. Encompassing both better known and more obscure artists, this collection is a trip into the psychedelic and cerebral strain of this amorphous genre, pairing the pulsating and propulsive with moments of cosmic calm.

                                                                    Opener “Strahlsund” by Die Partei serves as the national anthem for this no-place, its utopian melodies and stately rhythmevoking an optimism which is swiftly skewed by the chrome tones and snapping percussion of Ralf Trostel’s “Two Face”. The delirious drive of Michael Bundt’s “Full Steam Ahead” embraces the uncanny as jarring bursts of laughter drown out a serpentine topline before the fever breaks into the cold sweat of Moebius’ “Etwas”, a sweet synth sonata decorated with detuned keys. “Scharfer Schnitt (No1)” is the first suggestion of Silberland’s full scope, the Populäre Mechanik A-side fusing postpunk and dubby funk and perfectly paving the way for the ritualistic stomp of Roedelius’ trance-dancing “Regenmacher”. Splitting the difference between Berlin and Düsseldorf schools, Tyndall give us the typically glittering "Großstadtgefühl”, which smoothly segues into the synth scree of Conrad Schnitzler’s beatless and balletic “Bis Die Blaue Blume Blüht”. The zero gravity drift continues with a contribution from Cologne’s Phantom Band, who achieve an effortless groove without the faintest hint of a bassline, while Bernd Kistenmacher takes us to the midpoint with the deep space repetition and Teutonic tessellations of “Quitting Time”. The return journey begins with the beauty and sadness of Heiko Maile’s “Nachtspaziergang” then sidesteps into a punkish pair from Moebius & Plank and Faust, the former fusing tape snippets, desk fx and grunting electronics into a narcotic stagger, while the latter employ breakbeat and distortion on a churning outtake from their Wümme period. If this bristling brace toyed with the terrestrial, Riechmann takes an aerial view of Earth via “Weltweit” and Asmus Tietchens strays way too close to the sun with a playful take on Venusian exotica. Things take a turn for the psychedelic via the Arabesque piano of Cluster’s transformative “Avanti” and Günter Schickert’s strung out and smouldering “Wanderer”, before the roving sequences of You’s “Live Line” fire up the hyperdrive for a foray into warp speed. Cutting the thrusters almost entirely, the synthesist himself Harald Grosskopf takes the controls for re-entry, gliding through the upper atmosphere on the heartfelt waveforms of “Emphasis”, cushioning the craft into Eno, Moebius and Roedelius’ hypnagogic “Base & Apex”.

                                                                    TRACK LISTING

                                                                    1. Die Partei – Strahlsund
                                                                    2. Rolf Trostel – Two Faces (bureau B Edit)
                                                                    3. Michael Bundt – Full Steam Ahead (bureau B Edit)
                                                                    4. Moebius – Etwas (bureau B Edit)
                                                                    5. Populäre Mechanik – Scharfer Schnitt No. 1
                                                                    6. Roedelius – Regenmacher (bureau B Edit)
                                                                    7. Tyndall – Großstadtgefühl
                                                                    8. Conrad Schnitzler – Bis Die Blaue Blume Blüht (bureau B Edit)
                                                                    9. Phantom Band – Pulsar
                                                                    10. Bernd Kistenmacher – Quitting Time (bureau B Edit)
                                                                    11. Heiko Maile – Nachtspaziergang (Tape 40)
                                                                    12. Moebius & Plank – News
                                                                    13. Faust – Vorsatz
                                                                    14. Riechmann – Weltweit (bureau B Edit)
                                                                    15. Asmus Tietchens – Trümmerköpfe
                                                                    16. Cluster – Avanti (bureau B Edit)
                                                                    17. Günter Schickert – Wanderer (bureau B Edit)
                                                                    18. You – Live Line (bureau B Edit)
                                                                    19. Harald Grosskopf – Emphasis
                                                                    20. Eno Moebius Roedelius – Base & Apex

                                                                    Conrad Schnitzler & Wolf Sequenza

                                                                    Consequenz II

                                                                      Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to numerous solo releases Schnitzler was also involved in various band formations not least Tangerine Dream and Kluster. Representing another of his musical landmarks are the 'Consequenz' releases. 'Consequenz II' emerged from a collaboration with Wolfgang Seidel alias Wolf Sequenza, and is the follow-up project to 'Consequenz' which was a low-budget production that had an overriding aim of liberating music from its elitist circles in a 'Beuys-ian' sense. 'Consequenz II' returned to the theme with electronic apparatus that professionalised the sound but by no means reduced the fun he found in experimentation.

                                                                      "There are no secret devices. ERUPTION are proof of that" - thus read the claim on an early 1970s flyer for Conrad Schnitzler's band Eruption, the group he started after splitting from Dieter Moebius and Hans-Joachim Roedelius, who persevered as Kluster, and later Cluster.

                                                                      Schnitzler had studied sculpture under Joseph Beuys and the statement echoed his teacher's philosophy: "Everyone is an artist." The flyer continued in similar vein: "ERUPTION are freeing the prisoners from their ivory towers." Schnitzler viewed art as social practice, not the realm of specialists. Anyone could get involved. You didn't even need to be able to play an instrument. The flyer also announced: "Members of the audience who bring transistor radios will get reduced admission if they play music on their radios inside the venue."

                                                                      That was back in 1971, ten years before we produced and recorded the Consequenz LP. We included instructions inside the sleeve for setting up just such a project with the minimum of technical fuss, inviting submissions which used the record as a playback tool. One cassette arrived all the way from New York, but that was about it. Not really enough to satisfy our ambition of liberating artistic endeavour from the ivory tower (perhaps not so much of a surprise, considering we only pressed a hundred discs). We had almost resigned ourselves to life in the ivory tower when a letter from a Spanish label (Esplendor Geometrico) reached us, asking for a sequel - Consequenz II. It didn't take long for us to decide to accept the offer, encouraged by the fact that we would not have to finance the release out of our own pockets - as had been the case with the first Consquenz.

                                                                      Certain "secret devices" had materialized in our ivory tower in the meantime. Conrad Schnitzler had purchased an 8-track recorder with money he had earned from "proper" art. I borrowed various bits of equipment from my band - Populäre Mechanik - including a drum computer, so we could really let rip. The little songs we made sounded much more "professional" than the cheerfully low budget music of the first Consequenz. I'd taken days off work for the sessions and after a week we had enough material to fill one side of an LP. The last track was further evidence of Conrad Schnitzler's sense of humour, as previously revealed on our "pop"album CON 3 (1981) and the "Auf dem schwarzen Kanal" single (1980). "España" on the A-side of Consequenz II is a vocal collage of the words "Buenas Tardes" and "España".

                                                                      All we needed now was music for the B-side, but our enthusiasm for the borrowed drum computer had waned somewhat. It was always the first track we recorded, which meant that everything else had to follow its lead. The beat itself was singularly unimpressed by what came next. This was an unsatisfactory state of affairs for two players (musicians?) who had begun with free improvisation, with either of the participants able to change the direction of the whole thing. Unsatisfactory, in spite of the fact that I was able to play to the beat with perfect timing, which led Conrad Schnitzler to give me the nickname "Sequenza" (hence the Consequenz title). The natural division of an LP into an A-side and a B-side lends itself to a caesura when the disc is flipped. So we decided to return to free-floating sounds on the B-side and, listening back now, I'm glad we did. Instead of competing with each other, the two sides dovetail perfectly.

                                                                      TRACK LISTING

                                                                      1. Von Hand
                                                                      2. Zack Zack
                                                                      3. Fiesta
                                                                      4. Hommage á Gaudi
                                                                      5. Erotik
                                                                      6. Windmill
                                                                      7. Alhambra
                                                                      8. España
                                                                      9. Kastilien

                                                                      Conrad Schnitzler

                                                                      Con 84

                                                                        Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to many other musical stations, bustling Schnitzler was a member of the Kraut-Electronic formations Tangerine Dream and Kluster. Numerous solo releases complete his extensive oeuvre. One of them is »CON 84«, probably his most composed work, on which he challenges the traditions of so-called Ernste Musik. The result is a complex electronic sound structure that marks a break with Schnitzler's previous work in a subversive flirtation with traditionalism.

                                                                        »Schnitzler is an inquisitive chameleon«, as a friend of mine once said, whilst attempting to assemble Schnitzler’s musical output into some form of retrospective system. An enticing zoomorphism at first glance, yet not quite so convincing on closer inspection. Firstly, a chameleon uses its ability to change colour as camouflage. Schnitzler never needed, nor had any desire, to camouflage himself. Secondly, curious as he was (particularly with regard to how his own work developed and the results it would bring), he never, to my knowledge, demonstrated the urge to study his artistic activities through the inquiring prism of science or methodology. Perhaps what my friend was driving at was Schnitzler’s mastery of different forms, moving dexterously between them and integrating them into his own inimitable language. CON 84 is a perfect example thereof.

                                                                        CON 84 is evidently the product of a computer-supported sound generator – a sampler. The original LP came complete with sheet music inserts, so a music printer must also have been part of the package. It is hard to say which instruments Schnitzler had at his disposal in the early 1980s. And more to the point, where did he record these pieces? Was he still at Peter Baumann’s Paragon Studio? Leaving such questions aside, what really matters here is the opportunity to gain an insight into Schnitzler’s complex musical imagination and powers. It appears as if he wanted to show the listener that he can still compose in the classical sense, creating a series of miniatures which are not so far away from the infinite glittering patterns of the existing Schnitzler cosmos. CON 84 lines up polyphonic compositions from start to finish. John Cage, Fluxus, randomness – nowhere to be seen. Schnitzler the traditionalist? A highbrow composer? On the contrary. Just as he so marvellously subverted common conceptions of art, Schnitzler crafted CON 84 to sound like Ernste Musik - serious (classical) music. He was a master of camouflage (with a wink of the eye) and repeated the trick nine years later on the French release CD CON BRIO. Following Schnitzler has always meant being ready to expect the unexpected. When he could, and had the financial means to do so, Schnitzler liked to use the latest technology. CON 84 was technologically advanced for its time, yet the music was paradoxically conventional. I imagine that Schnitzler took great delight in such contradiction. With shiny new digital technology at his fingertips, he chose to compose music in traditional form. Did »conventional listeners« enjoy the results on CON 84 as much their author? I doubt whether his parodies and twists on traditional composition resonated with them. Alas, there is no record of any Schnitzler reflections on this singular music, I would dearly have liked to have heard his thoughts. When the album appeared in 1984, it enriched an already diverse experimental music scene. The willingness to engage with the genre was growing - regardless of how many listeners there actually were. I clearly remember finding CON 84 in a record shop which specialized in new wave and industrial sounds. How did that happen? Simple: boundaries were now blurred.

                                                                        TRACK LISTING

                                                                        1. X19 II
                                                                        2. X18 II
                                                                        3. 28.6.84 Blasen
                                                                        4. 16.4.84 I (1+2)
                                                                        5. X19
                                                                        6. X18 # I
                                                                        7. X18 I
                                                                        8. 16.4.84 I
                                                                        9. X19 I
                                                                        10. X18 (1+2)
                                                                        11. 16.4.84 Frei
                                                                        12. X18 # (1+2)

                                                                        Jimi Tenor


                                                                          Jimi Tenor has always been something of a Renaissance man. On leaving his Finnish homeland for New York in the early 1990s, and later as he travelled through Europe, he quickly discovered what he calls his ikigai, his great joy in life: to record and produce music in DIY mode at home with the most rudimentary of means, spont- aneously and intuitively. In more than 30 years of making music, Tenor has remained true to his ideal, whether as a solo artist on his early electronic albums or in the widely diverse collaborations and constellations which followed (with the likes of Tony Allen, Kabu Kabu, Abdissa Assefa). "Multiversum" is now his third album for Hamburg-based label Bureau B.

                                                                          Jimi Tenor and Bureau B first teamed up in 2020 on the former's "NY, Hel, Barca" retrospective and continued their association with the release of "Deep Sound Learning", a collection of rarities, in spring 2021.

                                                                          Whilst Tenor has predominantly released jazz and Afrobeat records over the past two decades, his live performances have often seen him return to his minimalist roots. Enthralled by how Jimi Tenor the solo artist conjured up his space music with just a synthesizer, flute and saxophone, Bureau B ultimately invited him to record an album with this basic and yet astoundingly effective set-up.

                                                                          Within just a few months, Tenor delivered an impressive selection of new pieces to Bureau B; all recorded in his Helsinki home studio. These tracks are now presented on "Multiversum", a record which provides further proof of Jimi Tenor's versatility. Based on drum machine beats and synthesizer loops, Tenor's music invites the listener to drift into open, limitless expanses - he is a master of the unforeseeable, audibly infusing all twelve new tunes with a sense of joie de vivre and intuition, with no recourse to standards. "Multiversum" is a declaration of love to the DIY spirit, somewhere between bedroom jazz and deviant techno.

                                                                          As a counterpoint to the album release, "Omniverse" is one of the first books to be published in ‚Bureau B/Tapete Records' joint venture with the Mainz- based publisher Ventil. It is an impressive portrait of the artist, packed with photos and stories documenting Jimi Tenor's life and career in music.

                                                                          TRACK LISTING

                                                                          1. Slow Intro
                                                                          2. Life Hugger
                                                                          3. Jazznouveau
                                                                          4. Uncharted Waters
                                                                          5. Baby Free Spirit
                                                                          6. Monday Blue
                                                                          7. Bass Kalimba Dance
                                                                          8. Birthday Magic
                                                                          9. Gare De Noir
                                                                          10. RajuRaju
                                                                          11. The Way To Kuusijärvi
                                                                          12. Bad Trip Good



                                                                            After the overwhelming success of last years 1971-74 box set release, containing the first four studio albums and for the first time ever this lost 'last' album recording, 'Punkt' gets a deserved and necessary stand alone release to the relief of fans and collectors and the undoubted future gratification of those yet to experience the magic in these recordings.

                                                                            'While working on the "lost" album which the band recorded in Munich, it became clear that I was listening to the last ever made recordings of this band lineup. It had been their attempt to release another album, which did not happen for several reasons. After this Munich session every band member focused on other things.So this was the end of Faust. No further recordings, no shows. Punkt. Which means "full stop" in German and has "punk" in it as well. An attitude which the band or at least some of the members certainly approved'. Gunther Buskies - bureau b

                                                                            The band called it 5½, fans referred to it as the "Munich album" and for almost fifty years it's been the missing chapter in Faustian mythology. Now for the first time, the German iconoclasts' previously unreleased fifth album sees the light of day as Punkt. Not only does this title place a bold full stop after the final recording by the group's seminal line up of Péron, Irmler, Sosna, Wüsthoff and Diermaier, but it also references the unflinching anarchism of German rock's ultimate outsiders. Punktis Faust at their most unhindered, untethered and unstoppable.

                                                                            Returning to Germany after a loss-making U.K. tour and after their manager Uwe Nettelbeck had split with them,the group dusted themselves down and planned their next project, what would have been their second for Richard Branson's Virgin. Joined as always by their engineering genius Kurt Graupner, the band took residence in the Arabella High Rise Building, the luxury hotel which housed Giorgio Moroder's Musicland Studio in its basement. At the time, the Italian's space disco odyssey was yet to blast off, and he gave the group the studio downtime around his sessions with Donna Summer.

                                                                            Off the leash and on the lash (running up a record breaking room service bill), Faust spent their nights below ground, creating the sublime cacophony which courses through these seven tracks. Driven by Diermaier's primitive repetition and Péron's rabid low end growl, "Morning Land" stomps its way through almost ten minutes of heavy psychedelia. Vocals disintegrate into the sonic landslide of guitar feedback and synth scree, momentum building until the track rends open the hellmouth with its unthinkable heft. A Luciferian spirit courses through the beatless "Crapolino", a tumult of scorched guitar chords, strident FXs and disembodied vocals which bares all the hallmarks of a black mass. And just like that, the group summon some demonic hunting party for "Knochentanz" (bone dance), arguably their most immersive creation. Opening with Péron's plangent horn, the track soon establishes a hypnotic c ounterpoint between Irmler's electronic sequences and Diermaier's sparse rhythm, a pulse which continues to build for six minutes as kick drum, snare, shaker and toms pile on beneath the ever-present drone. The storm clears for a second to allow a celestial chord progression to emerge from the darkness before the heavens open and Sosna's snarling, sawing guitar rains down from above, carrying "Knochentanz" through its final iteration, a collision of muscular fretwork, percussion freakout and bleeping organ which completes the most psychedelic recording you've never heard.

                                                                            The frazzled optimism of "Fernlicht" buzzes away like an acid Beethoven bathed in neons, before the breathless "Juggernaut" stretches the definition of blues rock to its limit as squirming sine waves, clattering cymbals and corrosive guitars pan, reverse and overlap, each following its own unhinged rhythm. Then for a time the sound and the fury abate, making space for the frankly sublime "Schön Rund", a piano-led diversion into the soul-swelling realms of ECM jazz and fin de siècleimpressionism, which rivals anything else in their catalogue for pure beauty. And in case you thought they'd gone soft, Faust sign off with the guttural groans and course drones of "Prends Ton Temps".

                                                                            After ten days of recording, it became clear that Branson wasn't footing the bill and Péron, Irmler and Sosna were arrested until the mothers of Sosna and Irmler paid the bill - though not before smuggling the master tapes into an undisclosed location, where they've waited ever since...

                                                                            STAFF COMMENTS

                                                                            Barry says: This final 'Lost' article from the Faust pentalogy sees the German experimental powerhouse in fine form, wildly swaying between avant jazz, lounge funk and krautrock in a musically surprising triumph. Bonkers and brilliant.

                                                                            TRACK LISTING

                                                                            1. Morning Land

                                                                            2. Crapolino

                                                                            3. Knochentanz

                                                                            4. Fernlicht

                                                                            5. Juggernaut

                                                                            6. Schön Rund

                                                                            7. Prends Ton Temps

                                                                            Richard Von Der Schulenburg

                                                                            Cosmic Diversity

                                                                              Hamburg synthesist Richard von der Schulenburg returns to Bureau B with the follow up to last year’s Moods & Dances 2021, harnessing hardware crunch, cryptic found sounds and field recordings on a mission for Cosmic Diversity. Taking inspiration from the haunting electronica of BoC and Plaid, refracted here through the half-life of a Zeiss lens, RVDS navigates the musical multiverse, simultaneously straddling electro, IDM, kosmische and dub across eight exploratory compositions.

                                                                              Dieter Zobel

                                                                              Mez 31’00

                                                                                (Experimenteller Elektronik-Underground DDR 1989) Bureau B presented a compilation of experimental, electronic music from the GDR's underground cassette scene in 2017 under the title "Magnetband" and now the Hamburg label is following up this thematic focus with the release of "MEZ 31,00" by Dieter Zobel aka Didier Leboz, recorded in 1988 and originally released on Thomasius' Kröten Kassetten label in 1989.

                                                                                Jorg Thomasius

                                                                                Acht Gesange Der Schwarzen Hunde

                                                                                  Experimenteller Elektronik-Underground DDR 1980-1990) Jörg Thomasius, discovered progressive sounds in the early 1970s. He was increasingly drawn towards the electronic signals emanating from West Berlin, so close and yet so far away, carried on radio waves through the Iron Curtain and surfacing sporadically in eager record collector circles on the eastern side of the wall. The material collected on “Acht Gesänge der schwarzen Hunde” spans the years 1980-1990. Spanning a full decade, the selection presents Thomasius as the multifaceted artist he is, even if he sees himself as more of an experimental DIY sonic creator: spherical, elegaic sounds float around whimsical jewels of extreme playfulness, weaving obscure vocal fragments into strange minimal constructs.


                                                                                  Spells And Daubs

                                                                                    In a year of the moon, Kreidler have produced the album Spells And Daubs. In a year of the moon – and in a year with 13 moons. Such years are known for not being the most comfortable.

                                                                                    In September 2020 the band met for exploratory sessions and initial recordings in Düsseldorf, in the familiar settings of the Kabawil Theater. That already has a certain tradition. The impetus this time was a solitary gig in the conspicuously spacious surroundings of the (former) Philipshalle. In a year that threw everyone back on themselves. Over the winter Kreidler worked remotely, sifting through the material, arranging the pieces, adding textures and contours. They met again in the spring of 2021 for further recordings at the Uhrwerk Orange studio in Hilden, near Düsseldorf. That, too, has a certain tradition.

                                                                                    From fifteen pieces they filtered out ten, and thus held an album in their hands. Then – and this is new – they took it to London, to Peter Walsh, so that he could mix the tracks.

                                                                                    Daubs are in no doubt here. This is a tenfold of colourful-blotches-thrown-onto-canvas. Then a stepping back, contemplating, remixing paint, layering, overlaying, scraping free again elsewhere. And these spells are not devastating curses, rather they are enchanting incantations, a calling forth a spring without having to ban winter in a sombre masks. Spells And Daubs is a melodious interplay. Not that Kreidler neglect the rhythmic; their characteristic drive runs through all the pieces on Spells And Daubs. Perhaps it's like this: The beat is musicalised, the melody rhythmitised.

                                                                                    Spells And Daubs is like a collection of short stories. Its ten pieces explore the same space drawn together by an overlaying arc. All of them have the length of a single, and each one has the potential of a single in the way the arrangements are laid out – so enticing is the melodic line and the beat. This succinctness was perhaps last heard on the 2000 eponymous Kreidler album. The drums are powerful with a light swing. The bass alternates beyond its functionality and its indicator just of the low frequency, swoops up and takes over the melodic lead. Perhaps most beautiful in the irresistible pop gems Arena, Unframed Drawings, and Revery. Aptly Alex Paulick moved to the fretless Bass – conjuring the spirit of Mick Karn.

                                                                                    For all of their Krautrock attributions, Kreidler never tire of reminding us that their musical development stemmed form a love of British pop music. So you might say the co-op with Peter Walsh is a match made in heaven. His illustrious mixing and production skills have lifted works from Shalamar or Lynx to Heaven 17 to Scott Walker, Pulp or FKA Twigs into other spheres. Kreidler had previously collaborated with him in 2013 for two tracks (Snowblind, Escaped, BB169). On Spells And Daubs, Walsh's methods and magic are especially audible in the spatial production, with his hallmark blend of depth and punch. Spells And Daubs is wrapped up in an enigmatic black-and-white drawing by prolific artist and filmmaker Heinz Emigholz from his Basis of Make-Up series. Their ongoing collaboration feels like a constant now. The mutual interference of Heinz Emigholz's and Kreidler's universes started about ten years ago, when he expanded the album Den with seven videos.

                                                                                    TRACK LISTING

                                                                                    Side A
                                                                                    A1 Tantrum
                                                                                    A2 Toys I Never Sell
                                                                                    A3 Dirty Laundry
                                                                                    A4 Revery
                                                                                    A5 Unframed Drawings
                                                                                    Side B
                                                                                    B1 Freundchen
                                                                                    B2 Arise Above
                                                                                    B3 Music Follows Suit
                                                                                    B4 Arena
                                                                                    B5 Greetings From Dave

                                                                                    Dinked Edition Bonus Disc:
                                                                                    Side C
                                                                                    C1 Howling At The Third Moon
                                                                                    C2 Moon
                                                                                    Side D
                                                                                    D1 Howling

                                                                                    Die Wilde Jagd


                                                                                      Die Wilde Jagd is the music project of producer and songwriter Sebastian Lee Philipp. Channelling minimalist, tenebrous intensity, Die Wilde Jagd's music weaves a dense and atmospheric web of drama, romance, ecstasy and melancholy Written for wooden organ pipes, cello, percussion and electronics.

                                                                                      A composition commissioned by Roadburn Festival. Performed by Sebastian Lee Philipp, Lih Qun Wong and Ran Levari.

                                                                                      Berlin based artist Sebastian Lee Philipp releases with his project Die Wilde Jagd a new work: "ATEM", a Live recording of his composition commissioned by the 2021 edition of Roadburn Festival, performed in Tilburg in the Netherlands on April 16th 2021.

                                                                                      An audacious 45-minute trip into the depths of evolution, organism and metabolism, this piece is an exploration of the mechanism and science of breathing and its essential role in life. Philipp himself plays synthesizers and an instrument developed specifically for the performance: a wooden organ pipe construction operated with an air compressor. The composer is joined on stage by collaborators Lih Qun Wong on cello and voice, as well as Ran Levari (who has played drums in Die Wilde Jagd since 2017) on percussion.

                                                                                      Speaking of his composition, Philipp says: "As human evolution enters new realms of reality, I find myself drawn to explore the basic essences of life: the things we are made of, that we take for granted and are, yet, still full of mystery. The parallels between breath and music are undeniable: pace, rhythm, volume and dynamic fluctuations influence us deeply. Breath is the elixir of life and the fuel for one of the most primitive vibrations: the human voice." The themes of creation and spirit within the composition are skillfully enhanced by Turkish Visual Artist Mürsel Güven.

                                                                                      Various Artists

                                                                                      Eins Und Zwei Und Drei Und Vier - Deutsche Experimentelle Pop-Musik 1980-86

                                                                                        A double album and single CD exploring the explosion of wealth of music springing from the squats and bedsits and artschools of Cologne, Dusseldorf, Hamburg and West Berlin in the aftermath of punk from the likes of Der Plan, Holger Hiller, Palais Schaumberg, Conrad Schnitzler and a host more.

                                                                                        Do not adjust your sets. Take a step back from the tracking. This is the sound of Germany’s musical youth let loose on cheap synths and pawnshop guitars. A record of a disparate s cene of squat pop-stars, artschool upstarts and committed non-musicians who redefined German music in the first half of the 1980s.

                                                                                        By the dawn of the new decade, punk had burnt out in a frenzy of feedback, reshaping the musical landscape before burrowing back into the underground for a period of reinvention. But the scorched earth it left behind proved to be fertile soil, nurturing a new movement grass-rooting through Germany’s major cities. For the first time the country had its own youth culture, spilling out of the squats of Hamburg and West Berlin, occupying the art scene in Düsseldorf and Köln and congregating around independent record shops stocked with angsty import 7”s. Empowered by punk’s DIY spirit, these kids valued conviction over competence, opting to ignore the industry and make music for themselves, sung in their own language. Even the cats we now call krautrock, revolutionary though they were, mostly sang in English, adopting the lingua franca of rock & roll as a shorthand for authenticity for a native crowd who wouldn’t have it any other way. This new scene rejected the expected, celebrating freedom of expression above all else. Armed with unconventional instruments, newly affordable electronics and rudimentary recording gear, they worked from the ground up, building basic rhythms and simple melodies into mutant grooves and following their imagination wherever it took them. The result was a genre-fluid wave of fusion pop pulled from funk, punk, jazz and reggae; united in attitude rather than aesthetic. Lyrically, the groups explored the serious and silly, embracing the irreverence of dadaism to deliberately displease the earnest alternativen of the older generation.

                                                                                        TRACK LISTING

                                                                                        01. Der Plan – Hey Baby Hop
                                                                                        02. Die Partei - Austauschprogramm
                                                                                        03. P!OFF? - Mein Walkman Ist Kaputt
                                                                                        04. Palais Schaumburg - Wir Bauen Ein Neue Stadt
                                                                                        05. Dunkelziffer - Keine Python
                                                                                        06. Populäre Mechanik - Muster
                                                                                        07. Andreas Dorau (Die Doraus & Die Marinas) - Sandkorn
                                                                                        08. Pyrolator - Im Zoo
                                                                                        09. Träneninvasion - Sentimental
                                                                                        10. Deutsche Wertarbeit - Guten Abend, Leute
                                                                                        11. Asmus Tietchens - Höhepunkt Kleiner Mann
                                                                                        12. Die Fische - So Verrückt
                                                                                        13. Conrad Schnitzler - Auf Dem Schwarzen Kanal
                                                                                        14. Carambolage - Die Farbe War Mord
                                                                                        15. Xao Seffcheque - Sample & Hold (Wer Bitter Im Munde Hat,kann Nicht Süßpricken)
                                                                                        16. Foyer Des Arts - Eine Königin Mit Rädern Untendran (Gerd Bluhm Remix)
                                                                                        17. Die Zimmermänner - Erwin, Das Tanzende Messer
                                                                                        18. Östro 430 - Sexueller Notstand
                                                                                        19. Die Radierer - Angriff Aufs Schlaraffenland
                                                                                        20. Holger Hiller - Jonny (Du Lump)

                                                                                        The new album by electronica producer Ulrich Schnauss and the Engineers guitarist Mark Peters 'Destiny Waiving' lands in store on Hamburg's Bureau B.

                                                                                        Hailing from Kiel in North Germany, it's now 20 years since the electronica prodigy Ulrich Schnauss released his debut album. His second, 'A Strangely Isolated Place' cemented his reputation as both a pioneer and an artist who routinely creates inspirational music that is adored by many. As a full time member of Tangerine Dream since 2014, his lifelong passion for their work inspired a creative resurgence for the band, resulting in their most successful new album for over 30 years, 2017's 'Quantum Gate'.

                                                                                        Liverpool born guitarist (and founder of the dream pop outfit Engineers) Mark Peters shared a similar musical path, exploring ambient textures and effect laden songwriting via a series of blissful albums for the band. In 2017 he released his first solo album, 'Innerland' which was enthusiastically received by BBC6 music and later included in Rough Trade's top ten best albums of 2018.

                                                                                        'Destiny Waiving' completes a collaborative trilogy that began with 2011's 'Underrated Silence' and followed by 2013's 'Tomorrow Is Another Day' (Schnauss also became a full time member of Engi-neers at this time). Initial sessions began at Ulrich's East London home studio in early 2017 and final mixes where completed there in late 2020. Despite it's extended conception, most tracks where com-pleted during 2017, in part informed by improvisational sets in London, Dublin and St James' Church in Birmingham (as part of the Seventh Wave electronica festival).

                                                                                        Despite these exercises in exploration, 'Destiny Waiving' is perhaps the most focused and concise collection of all three releases. Ranging in tone from precognitive foreboding to soaring optimism, the album delicately hones a particular atmosphere that is unmistakable in their work. While track titles such as 'The Supposed Middle Class' acutely display a concern for society at large, compositions and performances reveal a great deal more light and shade. This inherent balance is a key facet of the duo's chemistry, signposted by the titles of 'Chiaroscuro' and 'Clair-Obscur' and the shifting moods within the tracks. For every rushing, upward sweep (Hindsight is 20/20, 'Circular Time'), contemplative countering is evident in tracks such as 'Words Can Be Dismissed' and 'So Far', 'The Moment'.

                                                                                        As we're all tired of hearing now, the global situation in 2021 is less than ideal, but if it's any consolation, Ulrich and Mark have fulfilled their destiny by creating a work that's both undeniably potent and endlessly immersive.

                                                                                        TRACK LISTING

                                                                                        Side A
                                                                                        1. The Supposed Middle Class
                                                                                        2. Hindsight Is 20/20
                                                                                        3. Circular Time
                                                                                        4. Chiaroscuro
                                                                                        Side B
                                                                                        1.Words Can Be Dismissed
                                                                                        2.Speak In Capitals
                                                                                        4.So Far, The Moment

                                                                                        Bonus Dinked EP
                                                                                        Side A:
                                                                                        1.Hindsight Is 20/20 (Count Two Four Version)
                                                                                        2.Circular Time (Measure By Measure Version)
                                                                                        Side B:
                                                                                        1.Words Can Be Dismissed (Talking Snare Version)
                                                                                        2.Speak In Capitals (Uppercase Drumming Version)

                                                                                        Niklas Wandt

                                                                                        Solar Musli

                                                                                          The most massive of ups goes to Daniel and Gunther at Bureau B for some sterling A&R here, locking the world's daftest drum savant, Niklas Wandt into his first solo LP. This percussive polymath keeps his diary fairly full with production, radio shows, DJing and a shitload of collaborative pursuits, whether with Joshua Gottmanns in N-NDW funksters Neuzeitliche Bodenbeläge, Dusseldorf gee Wolf Müller, Sascha Funke or ambient heart-throb Cass.

                                                                                          For 'Solar Müsli' though, Niklas takes centre stage with a debut solo LP informed by kosmische, jazz, Afrobeat and ambient, but placed in a universe of its own. This is not formalism at work, but an exhilarating, freely flowing album which started out as an exercise in improvised percussion and developed into a multidimensional journey, at times both introverted and ebullient. Stitched through with snippets of spoken word by some of his nearest and dearest, this wildly psychedelic listen is a journey through the nebulous realm of electronic jazz, both emotive and escapist.

                                                                                          TRACK LISTING

                                                                                          A1. Der Glaeserne Tag
                                                                                          A2. Durch Den Spalt
                                                                                          A3. Lo Spettro
                                                                                          A4. Wo Es War
                                                                                          B1. Kusnacht
                                                                                          B2. Solar Musli
                                                                                          B3. Am Rande

                                                                                          Love-Songs & U.Schutte

                                                                                          Spannende Musik

                                                                                            Hamburg's post-kraut-electro trio Love-Songs and Ulf Schütte (Datashock, Phantom Horse, Little Whirls) have formed a group named Love-Songs & U. Schütte for the duration of one long-playing record.

                                                                                            This body of work bears the modest title [Spannende Musik] – an attribution which sounds not in the least bit pejorative to those with no skin in the game: "Yes, it really is exciting music!" The adjective pinned to the music may go deeper: "spannend" can also express tension, in this case not to convey a mood or a tense thriller, but in a physical sense.

                                                                                            The musical foursome's nocturnal world tour begins (and ends?) in a shamanistic factory hall with no clocks. Rigorous polyrhythms are accentuated by dexterously frayed edges. Radio wave rituals are revealed by flickering fluorescent lamps, a tribalistic screw box is in danger of falling from a conveyor belt.

                                                                                            The dualism of minimalistic asceticism and long-distance free improvisations create that selfsame tension which lends the spacious music of Tony Conrad, Joshua Abrams or the kosmische, yet earthed music of Pulse Emitter et al, such an original voice and atmosphere. One must search far and wide to find space and movement interlock so seamlessly through such meticulous layering and barely perceptible shifts in order to maintain the tension alluded to earlier.

                                                                                            The purely descriptive titles of the individual tracks, lifted from annotations of music in film sub-titles, lead us further astray than we might have first thought – which brings us back to the actual meaning of tension and what it is capable of evoking on a semantic and aesthetic level, something which contemporary music painfully lacks: a certain unreliability.

                                                                                            TRACK LISTING

                                                                                            Surren Steigert Sich
                                                                                            Dumpfes Hammerndes Drohnen
                                                                                            Unregelmassiges Klicken
                                                                                            Ulf & Thomas Spielt Im Hintergrund
                                                                                            Spannungsvolles Rattern
                                                                                            Dusteres Wabern
                                                                                            Langgezogener Hoher Ton

                                                                                            Various Artists

                                                                                            Kiosque Of Arrows 2

                                                                                              "Kiosque Of Arrows 2" is Detlef Weinrich's (a.k.a. Tolouse Low Trax) first compilation for Bureau B. Echoing the spirit of the legendary samplers found on Les Disques Du Crépuscule or Made To Measure, this hybrid journal collates unusual pieces of music - rare and undiscovered pearls from the experimental underground of the early 1980s through to contemporary unreleased recordings It all helps to pinpoint Tolouse Low Trax as artist and curator in the grander scheme of things, whilst evoking the spirit of countless nights at the Düsseldorfer Salon des Amateurs.

                                                                                              TRACK LISTING

                                                                                              A1. Macromassa - El Consecuente Aspecto De Geometria
                                                                                              A2. The Stupid Set - Basset
                                                                                              A3. DsorDNE - Il Senso Di Torpore
                                                                                              A4. Techno Twins - Donald & Julie Go Boating
                                                                                              A5. Venus In Furs - La Valse De Salon
                                                                                              A6. Javier Segura - Camino Largo
                                                                                              B1. Bassae - Oedipa Maas Y Los Atomos
                                                                                              B2. Lydia Tomkiw - Hot June Evening
                                                                                              B3. Iueke & Lippie - Van Gogh - La Farandole Op1
                                                                                              B4. Kaoru Hirose - Dah-May-Yoo
                                                                                              B5. Viola Renea - Chariot Of Palace



                                                                                                "Spring" is Thomas Klein's fourth Sølyst release on Bureau B, gleaned from material spanning the past three years. The time he has spent with these pieces has been time well spent. In revisiting them, he has posed new questions, rearranged and reworked some elements, dismissed or discarded others. Photophobic dancers, tar on their shoes, flashes of light, monochrome is our only colour. "Spring" is the soundtrack to a night such as this, plotting its course through to the late morning: take "Sheroes" and play it between Martin Rev and Chris & Cosey, take "Atlas" and play it, if you will, after Tolouse Low Trax. And before the doors reopen, take "Spiral".

                                                                                                TRACK LISTING

                                                                                                Side 1
                                                                                                1. Sheroes (5:30)
                                                                                                2. Flex (2:53)
                                                                                                3. Thief (6:30)
                                                                                                4. Flush (4:02)
                                                                                                Side 2
                                                                                                1. Hold (5:23)
                                                                                                2. Atlas (3:40)
                                                                                                3. Spiral (6:51)
                                                                                                4. Spring (4:09)


                                                                                                In The Night

                                                                                                  Barely pausing for breath after 1983's Colours And Soul, Dunkelziffer delivered In The Night the following year, their revolving line-up prompting an evolving sound. Though the playful elements of their debut remained through a trio of sun-blushed dubbers, the album also housed the ensemble's most dense, intense and serious tracks to date. After Rebop Kwaku Baah (vocalist on their previous album) sadly died a perfect reinforcement was waiting in the wings, and the unmistakable Damo Suzuki led the charge with Helmut Zerlett taking double duties on backing vocals.



                                                                                                    Though better known as fine purveyors of kosmische and 'krautrock', Bureau B have been making excellent inroads into the NDW scene of late, and there are few more sought after records from the Neue Deutsche Welle than this self titled beauty from Munich's P!Off?. Released in 1982 by Transparent, the album achieved some respectable successes at the time, but quickly disappeared in the flood of NDW releases of the early 1980s. Songs like the boogie track "Mein Walkman ist kaputt" or the enchanting slow disco jam "In der Nacht" are still very popular among diggers and DJs to this day. They are happy to finally make this rarity available again. The ‘82 Album has become a sought-after collector’s item and cult object so we are very happy that Bureau B is presenting a lovingly remastered reissue after almost 40 years.

                                                                                                    TRACK LISTING

                                                                                                    Das Dicke Kind
                                                                                                    Mein Walkman Ist Kaputt
                                                                                                    Pass Auf!
                                                                                                    In Der Nacht
                                                                                                    Starker Bruder
                                                                                                    Ich Kann Kein Franzosich (Dansez)
                                                                                                    Schau Dich Doch An
                                                                                                    Was Ist Das?


                                                                                                    This Was Paradise

                                                                                                      Irish producer Chris W Ryan (Just Mustard, NewDad and his own Robocobra Quartet) began releasing music under the moniker SORBET in 2020 with the express intention to cleanse the palate; both for the listener and himself. Exploring freely across genre bounds, the world of SORBET is informed by electronic music just as much as classical and alt-pop, with nods to artists like Laurie Anderson, Arthur Russell, Kate Bush and David Byrne.

                                                                                                      Roedelius / Czjzek

                                                                                                      Weites Land

                                                                                                        Vienna, the early 1980s. Krautrock, electronic and ambient pioneer Hans Joachim Roedelius, co-founder Cluster and Harmonia and saxophone free spirit Alexander Czjzek meet for the first time. Their longstanding collaboration found its climax in the fantastic album "Weites Land", which was released in 1987 for the first time, but has been out of print for many decades and became a sought-after rarity.

                                                                                                        Bureau B is pleased to make this organic jazz masterpiece finally available again!

                                                                                                        TRACK LISTING

                                                                                                        A1. Einklang 
                                                                                                        A2. Sonniger Morgen
                                                                                                        A3. Beruhrung
                                                                                                        A4. Ballade
                                                                                                        A5. Weisst Du Noch?
                                                                                                        B1. Nahe
                                                                                                        B2. Weites Land
                                                                                                        B3. Hoffnung

                                                                                                        Jimi Tenor

                                                                                                        Deep Sound Learning (93 - 00)

                                                                                                          Bureau B are excited to announce the arrival of a new Jimi Tenor double album! Following on from last year's NY, Hel, Barca compilation which showcased Tenor's early works and cuts from his first six albums, Deep Sound Learning shines a spotlight on unreleased tracks from 1993 to the year 2000. This intensely prolific period saw Tenor send countless DAT tapes to Warp Records, his label at the time, who stacked up the recordings in the office safe. Some of the songs preserved on those DATs made their way onto various Tenor LPs - whilst others remained unreleased to this day. Jimi Tenor and Bureau B have retrieved said tapes and crafted a double album (CD/LP) of previously unheard tracks in what is much more than a simple archival exposition.

                                                                                                          STAFF COMMENTS

                                                                                                          Barry says: As a hugely talented and constantly prolific musical force, there was always going to be a wealth of unreleased gems from Jimi Tenor. It turns out that Lehto's unreleased cuts are considerably more capable than the majority of other artists' released work. A quintessentially Bureau B offering, full of groove and soul, and perfectly suited to home listening or a sunny outside dancefloor.

                                                                                                          TRACK LISTING

                                                                                                          A1. Exotic House Of The Beloved
                                                                                                          A2. Sambakontu
                                                                                                          A3. Dub De Pablo
                                                                                                          A4. Baby It Hearts
                                                                                                          A5. Anna Menna
                                                                                                          A6. Heinola
                                                                                                          A7. Jameson
                                                                                                          A8. Another Space Travel
                                                                                                          B1. Salo
                                                                                                          B2. Downtown
                                                                                                          B3. Bondage
                                                                                                          B4. Doin' Alright
                                                                                                          B5. Walkie Talkie
                                                                                                          B6. Espoo
                                                                                                          B7. O-Sex
                                                                                                          B8. Plan 9
                                                                                                          B9. Travellers Cape
                                                                                                          B10. Super Beat
                                                                                                          B11. My Woman

                                                                                                          Michel Banabila

                                                                                                          Wah-Wah Whispers

                                                                                                            Ever since he released his music in the early '80s Michel Banabila has been hard to pinpoint to a specific genre or style. His musical output includes jazz, experimental cut-up electronics, world music (especially influenced by the Fourth World music as developed by Jon Hassell), New Age, eclectic pop tunes, music for dance or other stage projects, and soundtracks for TV. Some listeners may have found it difficult throughout the years to find their way in this versatile output.

                                                                                                            For this particular release, Bureau B chose a different approach. Instead of archiving early works from the 1980s, Wah-Wah Whispers focuses on Banabila's more recent output. It is a collection of works showcasing many facets of his music: a journey visiting the minimal and cinematic sample scape, contemplative ambient / fourth world scenes and more. The album ends with a kaleidoscope of atmospheres gradually building up to a noise climax.


                                                                                                            My Frequencies, When We

                                                                                                              This is the eighth Mapstation album Stefan Schneider has released since 2000. Hailing from Dusseldorf, the electronic music artist and producer finds inspiration in African and South American folklore, dub and, naturally, Krautrock, taking his time to process his responses in a consistently thoughtful manner, never resorting to cliche. He has also found time to pursue other projects in recent years, one with Electronic Music pioneer Hans-Joachim Roedelius for example (2011).



                                                                                                                With the band’s tenth anniversary in their viewfinder, CAMERA release “Prosthuman”, their fifth studio album. As befits an age in which realities can change in the blink of an eye, from one day to the next, the Berlin band never tire of changing themselves, their music or personnel.

                                                                                                                As Karlheinz Stockhausen noted: “New methods change the experience. New experiences change man.”

                                                                                                                Taking this as their lead, Michael Drummer (the drummer) and CAMERA surprise us once more on “Prosthuman” as they reinvent and reformulate their sound without sacrificing the project’s identity which has matured over the past decade. Less surprising is the fact that some record stores give CAMERA their own section, alongside Krautrock pioneers like NEU!, Can and La Düsseldorf. “Emotional Detox”, the predecessor to this album, was distinguished by the presence of two keyboard virtuosos (Steffen Kahles and CAMERA founder member Timm Brockmann). Finding replacements for “Prosthuman” was, as Michael Drummer stresses, “a difficult process.” The two keyboardists had – in different creative periods – formed the backbone of a band structure otherwise prone to fluctuations. Decisive input came from an unlikely source: Tim Schroeder, who first teamed up with CAMERA as a performance and video artist on their six-week tour of the USA in 2017.

                                                                                                                Over the course of various jams and recording sessions, he was able to offer ample proof of his synthesizers skills. Alex Kozmidi, a musician and composer with a flair for experimentation, completed the triumvirate on guitar, with Michael Drummer adding his own guitar riffs here and there. Change and friction can be useful allies in pursuit of creativity, something to which Drummer has grown accustomed as the only ever-present member of CAMERA. The pleasures and pain of isolation – suddenly a mass phenomenon in pandemic times – are well known to the quasi frontman of the group. Over the years, he has spent many hours alone or with a shifting cast of co-musicians in the band’s basement studio, beneath a former factory site in a less than hip southern district of Berlin. Virus-induced social distancing and quarantine measures that came into force during the recording process (June 2019 to June 2020) thus posed no great challenge.

                                                                                                                STAFF COMMENTS

                                                                                                                Barry says: It's always a delight when something hits the shelves from Bureau B. This time sees Camera revisiting their familiar heady kosmische groove, albeit with different staff. Drummer and Schroeder here perfect the warmingly organic duality of synthesiser and live percussion, resulting in a fluid but cohesive build and release narrative and a hypnotic, rhythmic nod.

                                                                                                                TRACK LISTING

                                                                                                                Side A
                                                                                                                2.Alar Alar
                                                                                                                3.Prosthuman / Apptime
                                                                                                                4.Überall Teilchen / Teilchen Überall

                                                                                                                Side B
                                                                                                                1.El Ley
                                                                                                                4.Chords4 / Kurz Vor

                                                                                                                Exclusive Dinked Bonus 12”:
                                                                                                                A2 – Lloyd Cole Remix
                                                                                                                Schmwarf – The Telescopes Threw A Way Through Experimental Health Version
                                                                                                                Alar Alar – Love-Songs Remix
                                                                                                                Prosthuman – Extnddntwrk Remix (Andrew Robert Lindsay Fearn Of Sleaford Mods)
                                                                                                                Freundschaft – Dead Skeletons Planet Book Remix (Ryan Van Kriedt, Henrik Björnsson)

                                                                                                                Richard Von Der Schulenburg

                                                                                                                Moods And Dances 2021

                                                                                                                  Revered Hamburg musician, synthesist and DJ RVDS joins the Bureau B ranks with the meditative and mellifluous sounds of ‘Moods and Dances 2021’ - a musical present from the future past.

                                                                                                                  Inspired by the otherworldly exotica and imaginative electronics of library music’s golden age, Richard von der Schulenberg conjures palm trees and pyramids, promenades and portals, all observed from the heart of a Holodeck. Seven Of Nine tracks are named after the equipment used to create them, offering an additional journey through the patch bay-mayhem of the RVDS home studio, and paying homage to the tonal nuance among his collection.

                                                                                                                  Now whether he’s atop Mt. Acid with a molten 303, caressing tender Fender keys through an improvised jazz set or live scoring some stage-based theatrics, Richard’s music always offers an immersive experience, but perhaps never more directly than this latest opus.

                                                                                                                  We wash up on the digital shoreline of ‘Mrs Yamaha’s Summer Tune’, sparkling with salt water and the shimmer of polished mallets and subtle percussion. ‘Caravan of the Pentamatics’ heads inland through the tree line, carving a silk road through Ethiopian jazz tones and snaking rhythms until it encounters the mystical presence of The Farfisa Sphinx. Cryptic melodies float a top a bed of spheric bass, intangible and irresistible until they fade into the sand storm. The gentle and jazzy ‘Roland’s Night Walk’ provides a little rest from the desert deities, though distant gunshot and the unceasing cicadas add tension to the moonlit majesty of those delicate keys. The dawn brings heartbreak via the dewy melodies and tonal malady of Richard’s DX7, but somewhere someone’s dancing to the propulsive bassline, eerie vocals and Arabesque sounds of ‘The Space Pentas’, a little kosmische boogie which just builds and builds. But dervish whirls are thirsty business, so it follows you should take a drinks break at the ‘Wersimatic Space Bar’, a sophisticated kind of cantina awash with exotica. Then the boogie is back for the penultimate track, a deranged, demented and diabolical bit of commune chaos brought back from ‘Planet Dragon’, and translated into a Radiophonic workout. Parting is such sweet sorrow on any planet, and ‘The End (Lala)’ captures the sentiment superbly, serving space sirens, somnolent bass sounds and bursts of static at a stately tempo.

                                                                                                                  Though Library inspired, and undoubtedly indebted to the hardware in action, this intriguing intergalactic trip is more passionate than a pastiche; playful, poetic and enigmatic in true RVDS fashion. 

                                                                                                                  STAFF COMMENTS

                                                                                                                  Patrick says: Hamburg's synth genius RVDS fires up the hardware to create a mystical homage to the Italian library records of old. Alongside the Balearic lullabies and digital exotica there are also a couple of groovers for the more adventurous dance floor ("Dance Of The Space Pentax" I'm looking at you!)

                                                                                                                  TRACK LISTING

                                                                                                                  A1. Mrs Yamahas Summer Tune
                                                                                                                  A2. Caravan Of The Pentamatics
                                                                                                                  A3. Flowers For The Farfisa Sphinx
                                                                                                                  A4. Rolands Night Walk
                                                                                                                  A5. DX7s Broken Hearts
                                                                                                                  B1. Dance Of The Space Pentax
                                                                                                                  B2. Wersimatic Space Bar
                                                                                                                  B3. Planet Dragon
                                                                                                                  B4. The End (La La)

                                                                                                                  Conny Frischauf

                                                                                                                  Die Drift

                                                                                                                    Viennese artist Conny Frischauf's music is a whirl of Kraut, leftfield electronica and synth pop. She playfully shines a new light on on tradition to create a fresh, contemporary sound. Having released a brace of EPs - Effekt & Emotion" (International Major Label, 2018) and Affekt & Tradition" (Kame House, 2019) - Frischauf now presents her debut album, Die Drift. The sheer immediacy of the album owes much to Frischauf's aptitude for integrating experimental sound structures into the microcosm of a pop song. A work of sonic depth, the record marries free music with irresistible pop appeal. Sam Irl, musician and engineer, takes on co-production, mixing and mastering duties. "Es geht rauf, rauf, rauf" - this single line heralds the journey which is about to begin, one on which Conny Frischauf's voice functions as a GPS: a rhythmic, chirping instrument interacting with electronic drum machine grooves, using language as sound to carry words, disorienting material which enhances the overall associative impact.

                                                                                                                    Texts which go beyond narration, opening up perspectives, locations confusions. Inside is outside is in-between, right, left, front, back, until you don't know whether you're coming or going. An endless drift, as the album title announces, the constant movement of waves generating currents on the water's surface. Frischauf deploys a wide range of instruments, adding a wealth of colour whilst balancing her playful approach with unfailing transparency, each element clearly arranged to create a particular sound. The complexity of simplicity. Sounds shimmer like kaleidoscopic reflections in a rush of echo loops, yet these are never used for mere effect, instead they represent careful brushstrokes on the broader fabric. All ten tracks on the album share an almost random, economically sketched intensity of effect, mirrored in Anna Weisser's cover art. Everything comes together on the closing track of the album, "Freundschaft" – in the end, friendship. Waves ripple outwards like a mantra, still in motion as they dissolve. All you have to do is let yourself fall in.

                                                                                                                    STAFF COMMENTS

                                                                                                                    Barry says: Bureau B are one of the greatest labels out there for weird electronic music (some of my favourite acts of all time have been on BB), and Die Drift is every bit as exciting and groundbreaking as the rest of their roster. Hypnotic psychedelia mixed with classic krautrock and *that* German bass sound. It's a beautiful journey, and a rewarding one.

                                                                                                                    TRACK LISTING

                                                                                                                    1. Rauf
                                                                                                                    2. Parapiri
                                                                                                                    3. Fenster Zur Straße
                                                                                                                    4. Sonntag
                                                                                                                    5. Auf Wiedersehn
                                                                                                                    6. Zeit Verdrehen
                                                                                                                    7. Roulette
                                                                                                                    8. Eingaben Und Ausnahmen
                                                                                                                    9. Private Geheimsache
                                                                                                                    10. Freundschaft

                                                                                                                    Der Plan

                                                                                                                    Es Ist Eine Fremde Und Seltsame Welt

                                                                                                                    Bureau B have already re-released four classic albums by Der Plan and now they present to you reissue number five. The name of the album is simultaneously the concept. Numerous diverse pieces which illuminate the world in all its absurdity. The album title is lifted from the David Lynch movie Blue Velvet (It’s a strange world). The songs on the album were, for the most part, composed in a legendary session, improvisations really. They decided to play each piece in a different key and use irregular time signatures: Der Plan was often seen as a fun, colourful, NDW (Neue Deutsche Welle) band and they wanted to counter that image by bringing their obscure roots to the fore. Ladies and gentlemen, lean back and enjoy the wonders of a strange and peculiar world.

                                                                                                                    TRACK LISTING

                                                                                                                    A1. 1 Moment = 2 Sec
                                                                                                                    A2. Ich Hab Den Jordan Gesehen
                                                                                                                    A3. Get Out!
                                                                                                                    A4. Frisch Verliebt
                                                                                                                    A5. Die Paranoia Kritische Methode
                                                                                                                    A6. Kennen Sie Koln?
                                                                                                                    B1. Komm Zuruck!
                                                                                                                    B2. Wenn Du Nicht Zuhause Bist
                                                                                                                    B3. Kreuze Niemals Deinen Weg!
                                                                                                                    B4. Die Geschichte Des Schwarzen Goldes
                                                                                                                    B5. Bleib Gold!
                                                                                                                    B6. Press G Punkt!
                                                                                                                    B7. 1 Mann, 1 Ball
                                                                                                                    B8. Bye Bye!

                                                                                                                    Der Plan

                                                                                                                    Die Peitsche Des Lebens

                                                                                                                      The final instalment (for now) in this little series of classic Der Plan album reissues. Eleven years had passed since the release of "Geri Reig", their debut album. Tiki and electronica, noise and schlager, psychedelia and industrial, Kurt Martin and jerry-rigging, Cargo Cult and Ata Tak, Wuppertal and Dusseldorf, Hans-Albers-Platz and West-Berlin, Emulator I and Emulator II, old pizzas and new masks, making the most out of the least and living in the gallery, abstraction and pop, Japan and Japlan. A lot going on in those eleven years! Good times ... they had a ball. Beautiful.

                                                                                                                      TRACK LISTING

                                                                                                                      A1. Es Werde Licht
                                                                                                                      A2. Die Peitsche Des Lebens
                                                                                                                      A3. Anders Sein
                                                                                                                      A4. Wenn Wir Beide Auseinander Gehn
                                                                                                                      A5. Kathedrale Der Konzentration
                                                                                                                      A6. Alles Ist Sinnlos
                                                                                                                      A7. Alter Mann
                                                                                                                      A8. Vive La Vie
                                                                                                                      B1. Wir Babies
                                                                                                                      B2. Kleiner Junge
                                                                                                                      B3. El Cigarro
                                                                                                                      B4. Live At The Village Vanguard
                                                                                                                      B5. Das Bose Kommt Auf Leisen Sohlen
                                                                                                                      B6. Erst Ich Dann Du
                                                                                                                      B7. Spiel 77
                                                                                                                      B8. Das War So Schon

                                                                                                                      Neuzeitliche Bodenbeläge is the musical vehicle of Niklas Wandt and Joshua Gottmanns. They released a single - Ich verliebe mich nie - in 2018 and an EP entitled Leben in 2019 on the Düsseldorf label Themes For Great Cities. Now the time has come for the Berlin duo’s long-awaited debut album. The 7 tracks comprising Der große Preis distil the inimitable NB sound which blends velvety synth-pop and crystalline digi-dub, basslines like cubes of glass and whiplash snares. The album title certainly lives up to its name: The Grand Prize. This is adventure time, from wild romance to petty crime – it’s all waiting for you right here.
                                                                                                                      It was early 2019 when, led by their very own energy coach Ali Europa, the band ensconced themselves in an offseason hotel on Lake Constance to record the album, the same procedure that spawned their afore-mentioned
                                                                                                                      EP. Between a mothballed breakfast buffet and darkened wood furnishings, bright winter sunshine and lonely nights, Wandt and Gottmanns set about conjuring up smoke clouds. The two protagonists have always been drawn to the most contradictory scenes of local nightlife, indeed the project was born in the underground bars of Berlin. On their lakeside sojourn, they paid a quotidianal visit to the neighbourhood watering hole, where a “No Problems” playlist - parts 1 to 5 - blared out of the jukebox and semi-anonymous players lost themselves in a blur of numbers and fruit as the slot machines whirred and flashed at one end of the room. Many a Euro coin was lost here, but a valuable concentrate seeped through the ether which would allow new tracks to grow. A mixture of dark brown artificial leather upholstery and grey FRG decor and synthetics, cosiness and a railway station milieu, aching heads and excitement. The magic ultimately reached completion in the converted studio suite; a pile of analog synthesizers and rhythm machines, a Studer desk, computer, a vocal booth in the shower. Irregular working  ours, and paradoxical daily routines caused considerable friction and, at times, the two musicians worked separately from each other. When contradictions reach breaking point, how rewarding it is for everything falls into place, just like that. Crack open the champagne, pour an Averna and Arabian Mocha.
                                                                                                                      One eventful year later, the finishing touches were applied in Vienna 1070, or to be more accurate, in Sam Irl’s home studio and the International Major Label Studio just around the corner: Gelb's Groove emerged from smokeladen nothingness in February 2020. The end product was honed with overdubs, refinements and vocals. Finally, the title track, Der große Preis, based on supercharged lyrics that had been floating aound for some time, was completed with Daniel Meuzard piloting his spaceship-like EMS synthesizer. A month later, cultural activities came to an end and Neuzeitliche Bodenbeläge had their debut album in the bag, like one big promise. Sounds evoking fragrances of yesteryear, yet as young as the present day. Tales of long nights and hot mornings, a market square and leather car seats, all as fresh as the day after tomorrow, having outgrown any scene imaginable. Everything pulsating, every one breathing, the expansion of now. 

                                                                                                                      STAFF COMMENTS

                                                                                                                      Patrick says: Ja ja ja! Utter gees Niklas Wandt and Joshua Gottmanns are back on an N.B. tip, treating us to a weird, wavey and wonderful LP on the rejuvenated Bureau B! Blending Deutsche boogie and wonky electronics the duo conjure up the stickiest synth funk imaginable on an LP packed with treacle dancers and junk food hallucinations.

                                                                                                                      TRACK LISTING

                                                                                                                      A1. Der Grosse Preis
                                                                                                                      A2. Gelb's Groove (feat Sam Irl)
                                                                                                                      A3. Haare
                                                                                                                      B1. Keramik & Konflikte
                                                                                                                      B2. Marktplatc
                                                                                                                      B3. Maske
                                                                                                                      B4. Rausfahr'n

                                                                                                                      Bureau B continue their awesome A&R work here, delivering the debut longplayer from Hamburg's Love-Songs. Over the course of several EPs and the mini-album 'Inselbegabung', the trio have skirted the neon swamp, fusing kosmische sequences with organic percussion and improvised electronics to create their own brand of auditory hallucinations. Here they extend a hand and pull us into the shimmering water, baptising the listener in their psychedelic sound in a forty minute ritual. Over the course of seven tracks, the German group deliver their most ecstatic tracks to date, mesmeric and mind expanding commune eletronics, tribal bouncers and concentric cuts for all you techno pagans.

                                                                                                                      TRACK LISTING

                                                                                                                      Proxy I
                                                                                                                      Selbstauflöser Teil 2
                                                                                                                      Das Labyrinth
                                                                                                                      Nicht Nicht
                                                                                                                      Tisch Mit Drei Weinen
                                                                                                                      Proxy II

                                                                                                                      Martin Rev

                                                                                                                      See Me Ridin'

                                                                                                                        Martin Rev's fourth solo album See Me Ridin' was released on the New York label Reachout International Records (ROIR) in 1996. Received by the critics with amazement, it proved to be a watershed moment in his career. Martin Rev's vocals are as minimal as they are sentimental, wonderfully poetic like a latter-day Chet Baker perhaps, or Jonathan Richman. This solo album not only blindsided Rev's critics and fans alike, but also painted a personal, nostalgic portrait of his home, New York; fading out the noise and contradictions of the city to channel the romantic energy of the metropolis. 

                                                                                                                        Martin Rev


                                                                                                                          Martin Rev's fifth solo album - Strangeworld - was released on the cusp of the new millennium. The label responsible was Puu, a Finnish imprint belonging to Tommi Grunlund and Mika Vainio's Sahko Recordings which came to fame in the 1990s on the strength of its uncompromising minimalist sound. Four years earlier, in 1996, Rev had unleashed See Me Ridin, an album which surprised its listeners with keyboard melody sketches and distilled doo-wop compositions. It was also the first solo album to feature Martin Rev on vocals. Strangeworld started where its predecessor left off. Melodic passages dissolved into a thicket of fragments and set pieces, coalescing in a celestial shimmer between rhythm loops and Rev's voice, which assumed the role of an additional instrument rather than a standard singing part. 

                                                                                                                          Pose Dia

                                                                                                                          Front View

                                                                                                                            Front View is the album debut of film-maker and musician Helena Ratka, alias Pose Dia. A soundtrack and theatre composer, as well as resident DJ at Hamburg's Golden Pudel Club, Ratka emerged onto the scene as one half of Shari Vari (together with Sophia Kennedy). Now all these pathways or winding roads have converged to create Pose Dia and an impressive album of many facets - a self-assured debut. The resulting album takes us on a mysterious journey through a darkish landscape. Pose Dia's tracks assume the most diverse forms - from supercooled synth-wave sounds or the weightless effortlessness of pop on the one hand, to the dsytopian urgency of contemporary club music or flashes of hip-hop on the other.

                                                                                                                            TRACK LISTING

                                                                                                                            A1. At The Beach
                                                                                                                            A2. Smoz Opera
                                                                                                                            A3. How To Find The Exit In Case Of Fire
                                                                                                                            A4. Harvest III
                                                                                                                            A5. Scanner
                                                                                                                            A6. Walking Running
                                                                                                                            A7. A Gap In The Step
                                                                                                                            B1. Phrase Paraphrase
                                                                                                                            B2. Get Up High
                                                                                                                            B3. Infinity Pool
                                                                                                                            B4. Spacerine
                                                                                                                            B5. Cloud


                                                                                                                            Ein Weltleck In Der Echokammer

                                                                                                                              Schlammpeitziger is the alias of musician, illustrator and performance artist Jo Zimmermann. He has been an integral figure in the evolving sound of Cologne since 1992, releasing his surrealist lo-fi krautronica on imprints such as A-Musik, Pingipung and Sonig. The first notes of the opening title track Weltleck instantly confirm that this is no run-of-the-mill record. Jo Zimmermann confounds expectations as he wraps the art-electro sound of Schlammpeitziger in otherworldly dub echo loops -a surprising, yet perfectly coherent development.

                                                                                                                              Harmonious Thelonious


                                                                                                                                Harmonious Thelonious is the solo project of the Düsseldorf musician Stefan Schwander. His works combine American-influenced minimal music with African rhythms and European melodies.

                                                                                                                                "I was busy experimenting with noisy rhythms when Bureau B asked me if I would like to release an album on their label. I was aiming for a more industrial sound; backwards cymbals, loops generated from non-musical sources such as slamming doors, and had the feeling that this would align nicely with Bureau B’s own story." Stefan Schwander’s new album Plong is something of a hybrid in the discography of Harmonious Thelonious, drawing on his existing strengths plus a sense of adventure in a mix of all his musical predilections. Dipping into the music, Middle Eastern elements can be heard on "Original Member Of A Wedding Band" and "Mumba", whilst tracks like "Höhlenmenschenmuziek" are characterized by more pronounced bass structures. Tuned down xylophones, evocative of ritual drums, sub bass and electrifying basslines catalyse the idiosyncratic sound of Plong: hypnotic, danceable, irresistible. A powerful head of steam builds across the nine tracks, with subtle changes in harmony ("Geistertrio Booking") or unexpected cameos such as a new wave bassline on "Abu Synth" shaking things up before the album hurtles onward with renewed force. Take "Interpretation de reve" as a case in point – floating sequences and themes sweep ashore in wave after wave of melody; analogous to dreams which enter the subconscious in episodes, their apparent randomness gradually shifting into a correlative pattern. "Totentanz" closes the album in a homage to the Basle club of the same name, a place which played a decisive role in Schwander’s musical socialisation: "I was lucky enough to see bands like Liquid Liquid, Gun Club, Jonathan Richman and a very young Aztec Camera there".

                                                                                                                                Harmonious Thelonious comes off with an exceptional work in the genre of electronic music, successfully embracing the physical power of a club night soundtrack whilst exploring the dramatic depths of sonic worlds to create an intensive listening experience in total solitude.

                                                                                                                                STAFF COMMENTS

                                                                                                                                Patrick says: Durian Bro and Dusseldorf sorcerer Stefan Schwander gets industrial and middle eastern on this Bureau B LP, translating his usual sonic manipulations into a hypnotic set of trance dancers for the alternative club kids. I'm gonna buy like 5 copies of this!

                                                                                                                                TRACK LISTING

                                                                                                                                A1. Original Member Of A Wedding Band
                                                                                                                                A2. Höhlenmenschenmuziek
                                                                                                                                A3. Geistertrio Booking
                                                                                                                                A4. Abu Synth
                                                                                                                                A5. Mumba
                                                                                                                                B1. Young Kong
                                                                                                                                B2. Interpretation De Reve±
                                                                                                                                B3. The Roller
                                                                                                                                B4. Totentanz

                                                                                                                                This is Tolouse Low Trax’s 4th solo album Jumping Dead Leafs.
                                                                                                                                A 38 minutes exorcism, dionysac sexyness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings… To remind you that music is demanding your soul and body, fully. A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put Milk in Water ?). As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music - notwithstanding a non violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this sirupy prison… For D.W. is a sorcerer. He’s been empirically learning the speaking of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he’s recording : one MPC, rudimentary synths, few effects and a mixer. No sound engineer on stage as only he knows his secret language… Raw dubmaking, leaning towards
                                                                                                                                hip hop, indubitably underlining here a significant distanciation from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of Sales Pitch. He is using his knowledge of techno, psychedelism (Inverted Sea), UK bass (Jumping Dead Leafs), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Weinrich’s answer is unsettling because it is an utter call to this balance, in our world of black and white and political correctness. There is no morality in music… Don’t expect anything else than an unaccountable liberating immediate experience. Don’t expect any kind of music because you are already in the past or the future… From his recording technique mainly relying on one takes, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all hereabout being in the present. No ears no glasses. 

                                                                                                                                STAFF COMMENTS

                                                                                                                                Patrick says: Dusseldorf's dance floor Derrida comes correct with his first solo album in six years, providing a little club deconstruction for the fringe DJ and haunted home listener! Frankly, no one sounds like Detlef, and as this LP blazes its hazy trail through warehouse smog, dislocated dubspace and an entirely crepuscular strand of psychedelia, it becomes increasingly clear how much we've missed him.

                                                                                                                                TRACK LISTING

                                                                                                                                A1. Inverted Sea
                                                                                                                                A2. Berrytone Souvenier
                                                                                                                                A3. The Incomprehensible Image
                                                                                                                                B1. Jumping Dead Leafs
                                                                                                                                B2. Milk In Water
                                                                                                                                B3. Dawn Is Temporal
                                                                                                                                B4. Pulse Skit
                                                                                                                                B5. Sales Pitch

                                                                                                                                Notorische Reflexe

                                                                                                                                Notorische Reflexe

                                                                                                                                  Notorische Reflexe was an experimental band, art form and a film performance group from West Berlin. Existing from 1982 to 1986, they were part of the early 80s Berlin art scene along with groups like P.D., Die Tödliche Doris, Einstürzende Neubauten or Malaria. Their only LP – originally released in 1985 – is an impressive outburst ranging from minimal electronics to more experimental takes with some jazzy/ethnic touches. Now reissued on LP featuring a bonus track, extended artwork and liner notes by Mark Reeder. 

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Patrick says: Total grail of the German underground this! Falling somewhere between NDW, tribal electronics and avant jazz, this killer LP balances ethno-industrial freakouts and noise experiments with absolute floor fillers for the weirdo dancefloor.

                                                                                                                                  TRACK LISTING

                                                                                                                                  1. Das Afrikateil
                                                                                                                                  2. Metalltanz
                                                                                                                                  3. Waiting
                                                                                                                                  4. Advanced Medicine
                                                                                                                                  5. The Wisp
                                                                                                                                  6. Jalan Bai
                                                                                                                                  7. Bresnjev Rap
                                                                                                                                  8. Yang Sun, Ein Stellungloser Flieger
                                                                                                                                  9. Next Stop
                                                                                                                                  10. Je Veux Partir
                                                                                                                                  11. Le Beat (Continue)
                                                                                                                                  12. Südseekonventtango
                                                                                                                                  13. Hammer (Live Mitschnitt)


                                                                                                                                  Banzai (Elektronische Musik Aus Berlin 1985 - 87)

                                                                                                                                    Rudolf Langer (formerly of Tyndall) and Peter Preu teamed up to create Lapre as a vehicle for their adventures in sonic experimentation. They set about capturing their nocturnal rehearsal room sessions on tape, Langer on synthesizer and Preu on guitar. With the exception of a solitary single and a few extremely limited cassette runs, Lapre released no further material during their active phase. It was not until 2018 that their works became accessible to a wider audience, when Bureau B released the Auferstehung retrospective, drawing on tracks from 1983 to 1984.? Banzai, the second collection of Lapre recordings, follows up by concentrating on their creative output from the years 1985 to 1987. A well-kept secret at the time of its inception, this music was barely audible beyond the borders of Berlin's underground scene. It thus gives us great pleasure to give these tracks the attention they ultimately deserve, more than 30 years later.

                                                                                                                                    Butzmann / Kapielski

                                                                                                                                    War Pur War

                                                                                                                                      Composer, radio dramatist and performance artist Frieder Butzmann began exploring experimental music in the late 1960s. One of the pioneers of German industrial music and a member of the Geniale Dilettanten movement, Butzmann has collaborated with artists such as Genesis P-Orridge, Blixa Bargeld, and Santrra Oxyd, as well as releasing numerous solo works. Frieder Butzmann joined forces with author and artist Thomas Kapielski in the early 1980s. Most of their compositions are minimalist tracks interspersed with everyday noises and fragments of speech, as can be heard on their WAR PUR WAR album, first released on Zensor in 1987. This utterly unique work is an idiosyncratic mix of eccentric electro-pop and bizarre sonic collages and has gone on to become a sought-after collector's item. Now lovingly remastered, with refreshed artwork and two bonus tracks, WAR PUR WAR is being reissued on LP and CD on Bureau B, complete with previously unpublished photos and liner notes by Frieder Butzmann. 

                                                                                                                                      Jimi Tenor

                                                                                                                                      NY, HEL, BARCA

                                                                                                                                        Finnish composer and multi-instrumentalist Jimi Tenor has joined forces with Bureau B to release "NY, Hel, Barca" - a retrospective compilation spanning the years 1994 - 2001. The double LP features early works and selected tracks from his first six albums, long since deleted. The 20 tracks on "NY, Hel, Barca" document key stages of Jimi Tenor's remarkable creative path, underlining the prolific and varied nature of his artistic output. Then as now, he shines like a satellite hovering over the European pop landscape. 

                                                                                                                                        Serge Blenner

                                                                                                                                        La Vogue

                                                                                                                                          Originally released 1980 on Sky records, this is music for the apocalyptic eighties inna Deutschland state of mind. When Serge Blenner left his native France for Hamburg, West Germany, neither he nor anyone else could have guessed that he would inadvertently compose a soundtrack for the Cold War. But his dark, monotone synthesizer album "La Vogue" (1980) turned out to be just that.

                                                                                                                                          You don't get to make 17 albums and stay out of the public eye unless you live and breathe music. Focus on nothing else. Commercial success may come your way, but will always be subordinated to the goal of making music on your own terms rather than music designed to sell. Listener, meet Serge Blenner.

                                                                                                                                          Blenner was born in 1955 in Alsace, the easternmost region of France. He studied composition and harmony at the Conservatoire de Mulhouse. He loved listening to electronic music from the Berlin School: Klaus Schulze, Tangerine Dream, Ash Ra Tempel/Manuel Göttsching, whom he got to know when they played in Alsatian churches and chapels. Such locations added a magical dimension to what was already extraordinary music. Blenner the proselyte had seen enough to realise: it was time to move to Germany, whence this music came.

                                                                                                                                          The year was 1975. He soon began experimenting with electronic music himself and graduated to live performances by 1978 and finally settled in Hamburg in 1979. One of the most important electronic music labels of the period, Sky Records, was based here, releasing music by such illustrious artists as Cluster, Michael Rother, Brian Eno and Conny Plank. Within the space of six months Blenner had recorded the tracks which would become La Vogue and sent them to Sky Records. A deal was done and La Vogue was officially released before the year ended.

                                                                                                                                          The record was a resounding success, some tracks even made it onto the radio - crucially, aired at hours of the day when significant numbers of listeners were tuning in, instead of being confined to the niche programmes or graveyard shifts more commonly associated with the genre. The longest track on La Vogue by far clocks up 8 minutes, 49 seconds, a rarity in Blenner's oeuvre, well outside his usual range of three to five minutes.

                                                                                                                                          La Vogue is an album of two halves. Through the first four tracks, Blenner still seems to be searching for his own style, beginning with the minimalistic, rather sombre fanfare of Phrase I built around a single melodic pattern. Next up is the almost poppy, harmonically rich Phrase II, followed by the spherical Phrase III and the crystalline, chiming Phrase IV. If the first four cuts are linked only by heterogeneity, tracks five to eight are very much of a piece. Together they represent a frosty, menacing soundtrack worthy of the apocalyptic mood which hung over the early 1980s, particularly in West Germany. With Cold War angst at its peak, many people feared a Soviet nuclear attack was imminent.

                                                                                                                                          Blenner doesn't really see the connection, "I wasn't thinking along those lines at all, I wouldn't say I have a depressive streak. Although one filmmaker did ask if he could use Phrase V on a soundtrack for a horror film. And someone has added Phrase V to a YouTube video of underground trains passing through East Berlin ghost stations in the early 1980s. I didn't consciously set out to evoke such a dark mood, but if that's what others hear - then who am I to argue?"

                                                                                                                                          TRACK LISTING

                                                                                                                                          1. Phrase I (6:43)
                                                                                                                                          2. Phrase II (4:34)
                                                                                                                                          3. Phrase III (6:05)
                                                                                                                                          4. Phrase IV (4:00)
                                                                                                                                          5. Phrase V (3:07)
                                                                                                                                          6. Phrase VI (3:53)
                                                                                                                                          7. Phrase VII (8:48)
                                                                                                                                          8. Phrase VIII (3:53)

                                                                                                                                          Serge Blenner

                                                                                                                                          Magazin Frivole

                                                                                                                                            Reissue (originally released 1981 on SKY records).
                                                                                                                                            Cold, concise analogue synthesizer instrumentals — on his second album Serge Blenner remained true to his style, albeit shifting course slightly towards pop territory. The juxtaposition of dark harmonies and pop structures is what makes this album so appealing. In places, it feels like a blueprint for early Depeche Mode.

                                                                                                                                            Having seen his first album La Vogue snapped up by the Sky label and fast tracked for release in 1980, Blenner delivered his second LP (Magazin Frivole) the following year. Mindful of the success of its predecessor, Blenner added the name of his debut in big letters to the front cover of the new sleeve. Better to be safe than sorry.

                                                                                                                                            Blenner remained faithful to his musical style, albeit adding more of a pop flavour. Magazin Frivole would not look out of place filed alongside Depeche Mode on the record shelf, as a certain resemblance is undeniable. Moreover, Blenner was one of the few proponents of electronic music who preferred to keep his songs concise, in contrast to the meandering odysseys of many of his electronic contemporaries. The far better known French artist Jean-Michel Jarre adhered to similar principles, yet although Blenner was often compared to his compatriot, he claims only to have heard his music long after La Vogue had appeared.

                                                                                                                                            Blenner’s creative approach is quite remarkable. He is at pains to point out that he is a composer, not a musician. Improvisation does not play a part in his music. Minor chords dominate his harmonies, the bass performs octave leaps which mirror the zeitgeist. Unexpected key changes abound, adding a restless, almost disquieting quality. Overall, Magazin Frivole is less dark than the preceding album, but a picture of cheerfulness it is not. Nevertheless, a poppy drum computer introduces a lighter note.

                                                                                                                                            From the very first track, chord changes pop up at unexpected junctures — they seem to come in prematurely, before harmonic sequences have run their course. Blenner doesn’t have any explanation for this curiosity, other than to note that “most of the music was played by hand, so of course it wasn’t all perfect.” Maybe it just wasn’t meant to be too catchy. “I did all I could to avoid being successful — on a subconscious level, at least. Unpredictable metrics and irregular beats were definitely part of the process” Blenner admits with an enigmatic smile.

                                                                                                                                            As a matter of fact, Blenner prefers not to listen to his older recordings, dismissive of their adolescent air. Juxtaposed with Blenner’s more recent works, one can see what he means. His latest album Musique de Chambre (2008) comprises modern classical chamber music, built on digitally sampled real instruments. Besides, Blenner points out, handling all of those analogue devices was a convoluted and complex undertaking. Help was at hand. With an impeccable sense of timing, his friend Wolfgang Palm launched the PPG Wave, the first commercially available digital synthesizer. Blenner sings the praises of the PPG (Palm Products GmbH) today as enthusiastically as when he first got his hands on one. “Suddenly I had all the equipment I needed in one box.” He never used analogue equipment again, leaving his first two albums as the only ones of their kind. Which is a real shame.

                                                                                                                                            TRACK LISTING

                                                                                                                                            1. Magazin Frivole (6:46)
                                                                                                                                            2. Envoutement (4:11)
                                                                                                                                            3. Derivatif (3:57)
                                                                                                                                            4. A L’Ouest (3:45)
                                                                                                                                            5. Métropole Agile (4:50)
                                                                                                                                            6. Phonique (5:03)
                                                                                                                                            7. Frivolité (2:44)
                                                                                                                                            8. Polyphase (4:52)


                                                                                                                                            Over The Top Orchester

                                                                                                                                              The two-man band are set to release their long-awaited debut album in 2019 on Bureau B. The eight tracks contain familiar OTTO ingredients, from organ sounds and rhythm presets to disco strings and the monophonic waves of a 1970s synthesizer. Arpeggio and Hohner notes add extra sharpness to the proceedings. Classics from their live repertoire sit alongside brand new numbers, invariably strange synthesizer compositions.

                                                                                                                                              Conrad Schnitzler

                                                                                                                                              Conditions Of The Gas Giant

                                                                                                                                                Imagine if you could listen to the nervous whirling of methane and helium, that's what this album sounds like - at least in the mind of experimentalist Conrad Schnitzler. The Berlin artist first released these recordings on a small American cassette label. An uncommonly rhythmical vortex, we would suggest.

                                                                                                                                                Conditions of the Gas Giant reflected the atmosphere associated with the music, clouds of manifold colours, whirling nervously above a gaseous planet. A methane and helium tryst in sonic form - fireworks, pyrotechnics for the eyes, like the surface of Jupiter, just as Schnitzler's tracks are pyrotechnics for the ears.

                                                                                                                                                Martin Rev

                                                                                                                                                Clouds Of Glory

                                                                                                                                                  Martin Rev is best known as one half of the seminal duo Suicide (with Alan Vega). Listening to his solo albums, it becomes clear that Rev was responsible for the group’s music. Suicide mirrored the reductive and radical traits of the contemp- oraneous punk scene that was in the process of emerging, but their electronic, minimalist form of language was so unique, so innovative, that they would become a major influence on the likes of Daft Punk, Air and Aphex Twin. Alongside his work with Suicide, Martin Rev continued as a solo artist, releasing his eponymous debut album in 1980 on New York’s Infidelity label. Rev’s early solo excursions can be traced back to the original ideas which can be found – in modified form – in Suicide songs: as instrumental versions which have been texturally enriched, like a familiar figure which has nevertheless taken on a completely new existence.

                                                                                                                                                  Clouds of Glory
                                                                                                                                                  His second solo effort, was released on the French label New Rose in 1985, although the recordings on Clouds Of Glory actually dated back to the earlier part of the decade, following on from the Suicide sessions for the duo’s second album. Martin Rev remembers: “Clouds of Glory was produced from visual and musical sketches I had in mind which then coincidedwith an invitation by Marty Thau, previously Suicide’s manager, to take advantage of studio time he had accumulated from other projects. The essence of my ideas was then realized in the studio. Clouds was started in 1981 and completed in 1984 when additionalstudio time was made possible to complete it, based on the offer by New Rose Records.” In spite of Clouds Of Glory having been recorded with the sameequipment as the Alan Vega / Martin Rev Suicide album, it occupies a completely different space, evoking the solemnity of religious music through its underlying meditative tone. “I look now upon the album as part of a personal journey into the frontier of music; a process which is never ending in its revealing of possibilities to satisfy my musical aspirations.”

                                                                                                                                                  TRACK LISTING

                                                                                                                                                  1 Rocking Horse (5:45)
                                                                                                                                                  2 Parade (6:45)
                                                                                                                                                  3 Whisper (4:04)
                                                                                                                                                  4 Rodeo (6:37)
                                                                                                                                                  5 Metatron (6:25)
                                                                                                                                                  6 Clouds Of Glory (6:22)

                                                                                                                                                  Martin Rev


                                                                                                                                                    Martin Rev is best known as one half of the seminal duo Suicide (with Alan Vega). Listening to his solo albums, it becomes clear that Rev was responsible for the group’s music. Suicide mirrored the reductive and radical traits of the contemp- oraneous punk scene that was in the process of emerging, but their electronic, minimalist form of language was so unique, so innovative, that they would become a major influence on the likes of Daft Punk, Air and Aphex Twin. Alongside his work with Suicide, Martin Rev continued as a solo artist, releasing his eponymous debut album in 1980 on New York’s Infidelity label. Rev’s early solo excursions can be traced back to the original ideas which can be found – in modified form – in Suicide songs: as instrumental versions which have been texturally enriched, like a familiar figure which has nevertheless taken on a completely new existence.

                                                                                                                                                    Although it was not released until 1991, Martin Rev’s third solo album features a wealth of material from the year 1980. For “Cheyenne”, Rev created instrumental versions of many of the tracks which had formed the basis of the second Suicide LP entitled “Alan Vega / Martin Rev”. The sphere of Martin Rev’s influence and the relevance of his music may well be related to the fact that he was one of the first artists who succeeded in grasping the abstraction of electronic music, infusing it with a sense of immediacy built on raw energy. Whilst the likes of La Monte Young, Terry Riley, Steve Reich, Philip Glass and Kraftwerk were busy digging in the electronic music garden, Martin Rev found inspiration in the streets of New York. Rev’s music is informed by characteristic influences of the city, a place where doo-wop harmonies intermingle with the hiss and hum of the metropolis, dissolving into a collage of noise. So it is that dreamy, chiming melodies blur into ominous whirrs and drones emanating from rhythm machines and layers of distorted synthesizer. This polarity between convergence and alienation describes something deeply American, as reflected in the track names and the cover image of a rodeo rider: “The idea came from the way the tracks sounded as instrumentals. They took on a different visually descriptive dimension, even more so in combination. The visualization was an immediate sound- scape of the American landscape. That’s where the titles and cover came from.” Many of the pieces found on Cheyenne can be traced back to the sessions for the second Suicide album Alan Vega / Martin Rev (1980) which was produced by Ric Ocasek, singer for The Cars. Almost a decade passed before Martin Rev got around to editing and developing the material. “Most of the album was recorded in 1980, but the remaining few tracks from 1988 into the early 90’s. The 80’s tracks all went under a concerted editing process, to make them work for me even better as instrumentals. I didn’t get around to that until there was an offer to release them, which was in the early 90’s as well.” Indeed, Cheyenne plays out like a rural, yet intense road movie, crossing a landscape rich in beauty and contradictions.

                                                                                                                                                    TRACK LISTING

                                                                                                                                                    1 Wings Of The Wind (7:58)
                                                                                                                                                    2 Red Sierra (6:36)
                                                                                                                                                    3 Dakota (2:58)
                                                                                                                                                    4 Cheyenne (3:09)
                                                                                                                                                    5 River Of Tears (3:49)
                                                                                                                                                    6 Buckeye (2:15)
                                                                                                                                                    7 Little Rock (7:00)
                                                                                                                                                    8 Prairie Star (2:27)
                                                                                                                                                    9 Mustang (2:40)

                                                                                                                                                    Young Scientist

                                                                                                                                                    Results, Not Answers

                                                                                                                                                      When you think of the music to have emerged from Seattle, grunge and Sub Pop are probably the first things that come to mind. But Seattle was already home to a vibrant alternative music scene back in the 1970s. One of the most prominent synthesizer acts of the period was the trio Young Scientist. Influenced by the likes of Cluster, Harmonia and Tangerine Dream, they released their music exclusively on cassette. We are delighted to present their superb debut album from 1979, the hypnotic-meditative-cyclical "Results, Not Answers" on vinyl for the very first time!

                                                                                                                                                      Von Spar

                                                                                                                                                      Under Pressure

                                                                                                                                                        Five years after the release of the highly acclaimed ‘Streetlife’ album the Cologne based Neo-Kraut/Electro-Pop band returns with new recordings. ‘Under Pressure’ includes collaborations with Stereolab's Laetitia Sadier, with Vivien Goldmann, R. Stevie Moore and Chris A. Cummings who was the guest vocalist on their successful ‘Chain Of Command’ single.


                                                                                                                                                        Nachtwerk (1991-1998)

                                                                                                                                                          Since 1981, Wilfried Franzen and Thomas Grotz have been developing their own version of experimental pop music, which oscillates between song structures, noise, and psychedelic trance. Bass and keyboards form the instrumental substructure of the duo’s compositions, which are enriched with guitars, violin, piano, electronic percussions, and samples. After self-publishing various cassettes and cds, "Nachtwerk" is the first official release of SOLARIZE, which presents selected pieces from the years 1991 to 1998.

                                                                                                                                                          Bernard Xolotl

                                                                                                                                                          Last Wave

                                                                                                                                                            French electronic music from California: "Last Wave", the fifth solo album by the artist and musician Bernard Xolotl, was originally released on cassette in 1982. He named himself after the Aztec god of lightning and death. His music is influenced by the Berlin school of electronic music. This reissue includes a previously unreleased bonus track (not on vinyl)! As a teen, Bernard Xolotl (born 1951 in France) was introduced to electronic music through the works of musique concrete composers like Pierre Henry and Pierre Schaeffer, although he found the early recordings of Pink Floyd to be more inspirational. During the early 1970s, Xolotl began creating music of his own, working in studios across Europe and the US before settling in California in 1974, where he slowly built his own studio. Between 1978 and 1981 he recorded four solo cassette albums. On his album "Last Wave" Xolotl expanded his musical palette with many new instruments such as the Yamaha CS60 and the PPG.

                                                                                                                                                            Bernard Xolotl on the creating process of "Last Wave": The first "Last Wave" I started early on while still living in San Francisco, as a simple and longish piece which could be used as a background for the concerts I was giving with Daniel Kobialka and Richard Horowitz, both of whom I saw almost every day at that time. However, after I moved to the residential suburb of Marin to build up my studio, I kept adding tracks to it so it just became part of my next album. This was going to have more instruments and progressively, I got to do everything myself, playing and recording one track at a time. But mixing there was still out of the question, so I had to wait for the right opportunity to use the proper San Francisco studio with the best reverbs and acoustics. This took several years in the end and was the last album I didn't mix at home.

                                                                                                                                                            Richard Pinhas


                                                                                                                                                              Following the vaguely poppy shapes of 1980's album East West, his fith album L'Ethique saw ex-Heldon guitarist and synth wizard Richard Pinhas return to bigger and bolder band-like methods. After the release he disappeared from the limelight for nearly a decade and returned in the 1990s.

                                                                                                                                                              Interviewed by "Electronics & Music Maker" magazine in 1982, Richard Pinhas spoke in buoyant terms about the future of his recording career. Having just unveiled his fifth solo album, L'Ethique, he was already scheming towards its follow-up. The next record. It would see him shift from analogue-based methods to digital systems. He expected the album to arrive in 1984. Little did anybody know that the mooted record would not actually materialise.

                                                                                                                                                              The year after that interview took place, Pinhas was plunged into a long period of depression. "I stopped everything and didn't think I would ever come back to music," he remembers. "I decided music was no longer for me. I'd said what I had to wanted to say, and it was done. It was out of my head and out of my life." Thus, he sold all his synthesisers and tried to survive on their profits along with royalties from his back catalogue. L'Ethique now looked as though it was Pinhas' final artistic statement. It was a strong collection to go out on. L'Ethique saw Pinhas return to bigger and bolder band-like methods. His collaborators included bassist Bernard Paganotti and Clément Bailly, both of whom performed stints in the prog band Magma. Moog player Patrick Gauthier made a reappearance too. The line-up brought a phat and forceful feel to the crunching jazz-rock fusion of 'Belfast' and 'Dedicated To K.C.', a vibrant space-rock stomper that lurks on some distant planet between the extraterrestrial habitats of King Crimson, Pink Floyd and Hawkwind.

                                                                                                                                                              Part 1 of 'The Western Wall' has a particularly fast tempo. Interspersing these rockers sit some mellower moments. The title of the gorgeous synth rumination 'Melodic Simple Transition' seems far too modest. Despite its dark and brooding synth chords, the second instalment of 'The Western Wall' has a strangely calming effect on the senses. Pinhas disappeared from the limelight for nearly a decade under the weight of his depression. On the strength of this record, not to mention the works that preceded it, there's little wonder that so many labels and promoters were falling over themselves to persuade Pinhas to return to music, which he eventually did in the 1990s. "The real miracle is that I reconnected with the music-making process," says Pinhas on overcoming his reclusive years. "It is easy to fall, but very difficult to come back."

                                                                                                                                                              TRACK LISTING

                                                                                                                                                              A1. L'Ethique (part 1) 
                                                                                                                                                              A2. Dedicated To KC 
                                                                                                                                                              A3. Melodic Simple Transition 
                                                                                                                                                              A4. Belfast 
                                                                                                                                                              B1. L'Ethique (part 2)
                                                                                                                                                              B2. The Western Wail (part 1)
                                                                                                                                                              B3. L'Ethique (part 3)
                                                                                                                                                              B4. The Western Wail (part 2)
                                                                                                                                                              B5. L'Ethique (part 4)

                                                                                                                                                              Carl Matthews

                                                                                                                                                              Call For World Saviours

                                                                                                                                                                Mesmerizing D-I-Y electronic music from Cumbria, UK. Influenced by the Berlin School but, even more, by Tim Blake. Released 1984 on cassette only. This is the first time vinyl!

                                                                                                                                                                Carl Matthews is by no means immune to the maelstrom of geo-caching notebooks. Krautrock (tick), guerrilla D-I-Y cassette-era artist (tick), under-rated UK electronic composer (tick). Man with a beard, surrounded by synths. (tick). Best of all, he was once described as the Edgar Froese of Cumbria.

                                                                                                                                                                Is there a suspension bridge which connects Carl Matthews to the mainland European tradition of Harmonia, Cluster and Tangerine Dream? 

                                                                                                                                                                Fourth solo album by French spacerock mastermind Richard Pinhas. 'East West' was his first and only album to be released by a major label (CBS). Some say it is his most commercial one, Pinhas doesn't see it that way. East West contained some surprises for those who were used to Heldon’s extended jams or the sparse and moody atmosphere of the previous year’s Iceland.

                                                                                                                                                                East West’s average track length is four minutes, indicating greater accessibility. It also has a David Bowie cover, although Pinhas naturally chose one of the thin white duke’s more avant-garde moments: the foreboding 'Sense Of Doubt' from Heroes. East West’s synth-centric tracks, resemble siblings to the groundbreaking work of Kraftwerk. Others evoke Brian Eno or Tangerine Dream but hold their own distinct flavour.

                                                                                                                                                                TRACK LISTING

                                                                                                                                                                A1. Houston 69: The Crash Landing (part 1)
                                                                                                                                                                A2. London: Sense Of Doubt
                                                                                                                                                                A3. Kyoto: Kyoto Number 3
                                                                                                                                                                A4. XXXXX: La Ville Sans Nom
                                                                                                                                                                A5. Home: Ruitor
                                                                                                                                                                B1. New York: West Side
                                                                                                                                                                B2. Paris: Beautiful May
                                                                                                                                                                B3. Keflavik: The Whale Dance
                                                                                                                                                                B4. Houston 69: Houston 69 (part 2)

                                                                                                                                                                Richard Pinhas


                                                                                                                                                                  Richard Pinhas is one of the most important French electronic space rock musicians. Following five albums with Heldon, his band, he released solo records from 1977 on. His transition to 'solo' material gave the guitarist and synthesist an opportunity to work on material that was a little lighter and less constrained. 'Chronolyse' was his second solo album. At the time of "Chronolyse"’s gestation, Pinhas had been listening to a lot of classical music. Bach, Scarlatti and Wagner were key. So too were the new wave of American minimalist composers; Philip Glass in particular. After the out of this world "Variations" on the A-side, skip to the flip for the Dune inspired tone poem "Paul Atreides".

                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                  A1. Variations I
                                                                                                                                                                  A2. Variations II
                                                                                                                                                                  A3. Variations III
                                                                                                                                                                  A4. Variations IV
                                                                                                                                                                  A5. Variations V
                                                                                                                                                                  A6. Variations VI
                                                                                                                                                                  A7. Variations VII
                                                                                                                                                                  A8. Duncan Idaho
                                                                                                                                                                  B1. Paul Atreides

                                                                                                                                                                  Started as the so called 'Krautrock Guerrilla' in 2012, six years later the Berlin combo Camera are releasing their fourth full-length album. Customarily associated with the likes of NEU! and La Dusseldorf it is time to allow Camera to break free of the krautrock tradition and accept that they are very much doing their own thing now. Motto: "It's not repetition, it’s discipline"

                                                                                                                                                                  TRACK LISTING

                                                                                                                                                                  1. Gizmo
                                                                                                                                                                  2. Patrouille
                                                                                                                                                                  3. Ciao Cacao
                                                                                                                                                                  4. Himmelhilf
                                                                                                                                                                  5. Cosm
                                                                                                                                                                  6. Pacific One
                                                                                                                                                                  7. Nicenstein
                                                                                                                                                                  8. Super 8
                                                                                                                                                                  9. Feuerwerk

                                                                                                                                                                  Various Artists

                                                                                                                                                                  Sowas Von Egal: German Synth Wave Underground 1980-1985

                                                                                                                                                                    "Sowas von egal" is a collaboration between the Hamburg record label Bureau B and the Hamburg party series Damaged Goods. The divergent trajectories of a record company on the one hand and DJs on the other are happily aligned through a love and passion for seeking out, collecting, releasing and playing rare, remarkable music which simply needs to be heard.
                                                                                                                                                                    The Damaged Goods DJs created the party as a danceable party where they could play music beyond the regular and repetitious repertoire of (dark) electro clichés. The focus is on seldom heard post punk and synth wave from the 1980s. Many of the old records had only been pressed in small quantities, often sold exclusively at the respective bands' gigs. More than 30 years later, it is almost impossible to get hold of these tracks... until now. 

                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                    Patrick says: I've declared my undying love for Neue Deutsche Welle many times before, so you'll understand I was very happy to see this Bureau B comp land in my lap. What's more, I don't know a single track on here, and it's full of killers!

                                                                                                                                                                    TRACK LISTING

                                                                                                                                                                    01. Träneninvasion - Sentimental
                                                                                                                                                                    02. Der Moderne Man - Blaue Matrosen 
                                                                                                                                                                    03. Silberstreif - Bei Dir Ist Noch Licht 
                                                                                                                                                                    04. El Deux - Computermädchen 
                                                                                                                                                                    05. Nullzeit - Dein Ganzes Leben 
                                                                                                                                                                    06. Hoffnung & Psyche - Sie Bleibt Kalt 
                                                                                                                                                                    07. Schwellköper - Liebe, Triebe, Diebe 
                                                                                                                                                                    08. New Dimension - Stuttgart Schwarz
                                                                                                                                                                    09. Berlin Express - Die Russen Kommen
                                                                                                                                                                    10. Pension Stammheim - US-Invasion
                                                                                                                                                                    11. Alu - Bitte Warten Sie
                                                                                                                                                                    12. Matthias Schuster - Für Alles Auf Der Welt
                                                                                                                                                                    13. Gorilla Aktiv - Spiegelbild
                                                                                                                                                                    14. 08/15 - 1000 Gelbe Tennisbälle



                                                                                                                                                                      "Elemente" - album number seven from the third incarnation of the legendary krautronic project Kluster/Cluster springs a surprise with a minor sensation: sequencer lines! Using an array of exclusively analogue instruments, Hans-Joachim Roedelius, Onnen Bock and Armin Metz have recorded eight tracks which, at one and the same time, are intrinsically hypnotic and sublimely beautiful.

                                                                                                                                                                      Dennis Young

                                                                                                                                                                      Synthesis / Electronic Music 1984-1988

                                                                                                                                                                        Dennis Young is best known as the percussionist of the New York band LIQUID LIQUID, which is known for their piece "Cavern" from 1983, which in turn became very well known because Grandmaster Flash sampled it and used it as the basis for their hit "White Lines". But Young was more than just a member of the band, he produced plenty of his own music, much of it reflecting his passion for analog electronics. He was fascinated by the pioneers of the genre. In 2016 Bureau B released "Wave", a collection of pieces Young had issued on cassettes between 1985-1988. "Synthesis", by contrast, features tracks from 1984-1988 which have never been previously released.

                                                                                                                                                                        Richard Pinhas


                                                                                                                                                                          Richard Pinhas is one of the most important French electronic space rock musicians. Following five albums with HELDON, his band, he released his first solo record in 1977. Backed by Heldon’s congenial drummer Francois Auger but no longer bound by the group dynamic, he explores his freshly purchased Moog Modular system in search of new sounds.

                                                                                                                                                                          On four of its five tracks, Rhizosphere presents just the 25- year-old Pinhas and his synth alone together, a melding of man and machine that gradually becomes an expansive, outward-bound journey. 

                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                          Barry says: We see the beginnings of Pinhas' evolving, industrial swirling synths and cosmic chugging krautrock on this, his debut from 1977. Airy pads and self-oscillating filters swirl and bend into an intoxicating, fascinating synth odyssey. Absolutely essential addition to any collection.


                                                                                                                                                                          Damenbartblick Auf Pregnant Hill

                                                                                                                                                                            Schlammpeitziger came through in the same 90s wave of German eclectronica as Oval, Mouse On Mars, To Rococo Rot, Mike Ink etc..

                                                                                                                                                                            Uncut - 8/10 review Feb 2018 - 'Blissed out electronic reveries'.


                                                                                                                                                                            Les Cassettes 1980-1983

                                                                                                                                                                              In the early 1980s, the French musical duo Fondation, comprising Ivan Coaquette and Anannka Raghel, released three tapes of fantastic electronic music which owed much to the experi-mentalism of the seventies. Synthesizer, drum computer, solo guitar. Repetitive, meditative, hypnotic. Between ambient and synth pop.

                                                                                                                                                                              "Les Cassettes 1980-1983" presents a selection of their finest pieces from this period. 



                                                                                                                                                                                The last studio album by the legendary krautronic duo (Dieter Moebius/Hans-Joachim Roedelius), recorded 2009 in Ohio by Tim Story "Seventeen miniature worlds, some icy, some warm, all infused with that Cluster elusiveness and unpredictability. Playful, dark, funny, human, Qua captures that deceptive Cluster heartbeat - unmistakably modern but utterly timeless."


                                                                                                                                                                                Cluster & Farnbauer Live In Vienna 1980

                                                                                                                                                                                  Originally released on cassette in 1980. The first live recording by Dieter Moebius and Hans-Joachim Roedelius, recorded 1980 in Vienna. The only collaboration with the Austrian musician Joshi Farnbauer who played drums and percussion and a sonic throwback to their early years. First time on vinyl!

                                                                                                                                                                                  Brockmann // Bargmann


                                                                                                                                                                                    Sounds of celestial beauty and infernal force: Brockmann // Bargmann (Ex-Camera) celebrate keys, guitars and effects Esteemed for their improvisational audacity, hurtling forwards to a motorik beat, there is another side to the Berlin "Krautrock Guerilla" trio Camera which sees them explore landscapes of sound. This is exactly what the two founder members Franz Bargmann (guitar) and Timm Brockmann (keyboards) present to us on their purely instrumental debut album "Licht". Harmonic and melancholic, tender and tough, planar and rhythmic - yet never dull.

                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                    Barry says: Half-way between the vast progressive sound sculptures of Pink Floyd and the astral arpeggios and twinkling oscillators of Kraftwerk lie Brockmann // Bargmann (and Camera). Grand, climaxing pieces built upon subtle foundations of ambience and percussion, blooming into soaring otherworldly cosmic trips. If you like Caverns Of Anti-matter, this is a cert.

                                                                                                                                                                                    Moebius / Schneider


                                                                                                                                                                                      Limited 12" vinyl (500 copies). To mark its 40th anniversary in 2007 the Kunsthalle Dusseldorf organized the "Dusseldorf Sounds - Festival of Art and Music from Dusseldorf. One particularly noteworthy event was staged in the Kunsthalle's cinema auditorium: the only Dieter Moebius and Stefan Schneider collaboration ever. On the night of the concert, they improvised everything. After the show, a journalist asked Moebius to expand on the differences between the fine arts and music. His riposte was succinct and disarming in equal measure: "What differences? - they are both art." Available for first time. 

                                                                                                                                                                                      Moebius Story Leidecker


                                                                                                                                                                                        Dieter Moebius (1944-2015) - one half of the legendary duo Cluster and the godfather of electronic krautrock - was one of the most important protagonists of avant-garde electronic music in Germany. The Americans Tim Story and Jon Leidecker are two electronic musicians who could not be more different to one another. Story is known for his warm soundscapes whilst Leidecker has made an name for himself, or rather for his "Wobbly" pseudonym, with experimental adventures in sound. He is also a member of the music and art collective Negativland.

                                                                                                                                                                                        Harald Grosskopf & Eberhard Kranemann


                                                                                                                                                                                          Harald Grosskopf and Eberhard Kranemann transmit cosmic sonic visions of today, tomorrow and beyond in one of the most exciting collaborations in recent years. Harald Grosskopf played on the early Klaus Schulze albums and recorded with Ashra..  Eberhard Kranemann co-founded the electronic bands Kraftwerk, NEU!


                                                                                                                                                                                          Mara I

                                                                                                                                                                                            Esmark, named after a glacier at Spitzbergen that debouches into the Ymerbay, is a collaboration between the sound architect Nikolai von Sallwitz (Taprikk Sweezee, Karachi Files) and the experimental artist Alsen Rau (Scheich in China, On+Brr). Both have worked on various experimental and performative projects together since 2001. Esmark's musical setup is mainly build analog. Instruments like drum computers and synth boxes have been connected in constantly changing chains of fx and filters. Some recorded on tape and fed back into the compositions.

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