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BUREAU B

God Is God

Metamorphoses

    Metamorphoses is the debut album by electronic duo God is God for Hamburg-based imprint Bureau B. The duo consists of Turkish musician, producer and Kinship label founder Etkin Çekin and Belarussian multi-instrumentalist, composer singer and Not Not Fun alumni Galina Ozeran who started making music after a chance meeting in Berlin in 2015.

    Metamorphoses an undulating, avant-pop journey of low-BPM twists and turns guided by Ozeran's synthesizers, Russian and English vocals and Çekin's ethereal production and guitar sensibility. Central to the album's musical narrative are both contemporary dancefloor-adjacent electronics and Eastern European and Turkish psychedelic electronic traditions - all filtered through the prism of Çekin and Ozeran's respective musical histories.

    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

          Multiversum

            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

            Faust

            Punkt

              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.

                    Kreidler

                    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

                      Atem

                        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.

                        Faust

                        1971-1974

                          Boxset contains Faust, So Far, The Faust Tapes, Faust IV, Punkt (1974 album that has never been released), Momentaufnahme I (unreleased studio tracks), Momentaufnahme II (unreleased studio tracks), and two 7"

                          "There is no group more mythical than Faust." Julian Cope (Krautrocksampler)

                          A band's fame can be measured in the sum of myths, legends and stories which are conjured up in their wake. In which case, Faust have been playing in the Champions League for quite some time. Few bands have been as innovative, influential or as irrepressible as FAUST -the way they revolutionized the history of music in the space of just four years puts them right up there with The Velvet Underground. What began in a Hamburg (Sternschanze) bunker in 1970 would send shockwaves around the world. Here's how Stephen Morris (Joy Division/New Order) remembers it: "The first Krautrock record which made a lasting impression on me was the debut album by Faust. The transparent disc looked spectacular and the music was mindblowing, not songs as such, it was something absolutely unique, the polar opposite of everything the Rolling Stones, Beatles and the like were doing. It was right up my street."

                          This box is the first virtually complete collection of FAUST works from the years 1971-1974. In addition to the debut album, it includes the 1972 album So Far, the legendary 1973 Virgin UK release The Faust Tapes ("Some chose to play frisbee with the LP, others said it changed their lives" as Jean-Hervé Peron noted), Faust IV and, for the first time ever, the mythical, so-called "Munich album" Punkt, which Faust recorded at Giorgio Moroder's Musicland Studios in 1974. For one reason or another, this last album never saw the light of day - until now. The bonus albums Momentaufnahme I and Momentaufnahme II also feature unreleased material, simultaneously affording us a fascinating glimpse of Faust's creativity in their Wümme studio phase. Two 7-inch singles round off the Faust 1971-1974 compendium: Lieber Herr Deutschland is the demo recording they sent to Polydor in 1971, remarkably triggering a contract offer from the label who had something of a conservative reputation at the time. The track later resurfaced as the B-side to their single Baby, a song which had been rejected by the aforementioned label. The second 7-inch single in the box is a rerelease of So Far, the first FAUST single on Polydor, originally issued in 1972.

                          It is by no means overstating the case to assert that FAUST created and christened a genre (the name would prove emotive) in one fell swoop (track 1 on Faust IV). This box is no more and no less than the holy grail of Krautrock. Even 50 years (or perhaps all the more so) after they took their first musical steps in a bunker near Hamburg's Sternschanze station, Faust still sound revolutionary, timeless, irrepressible and, above all, unique.

                          TRACK LISTING

                          LP1/CD1 Faust

                          A1) Why Don't You Eat Carrots?
                          A2) Meadow Meal
                          B1) Miss Fortune

                          LP2/CD2 So Far

                          A1) It's A Rainy Day Sunshine Girl
                          A2) On The Way To Abamäe
                          A3) No Harm
                          B1) So Far
                          B2) Mamie Is Blue
                          B3) I've Got My Car And MyTV
                          B4) Picnic On A Frozen River
                          B5) Me Lack Space…
                          B6) …In The Spirit

                          LP3/CD3 The Faust Tapes

                          A1) Several Hands On Our Piano
                          A2) Don't!
                          A3) Flashback Caruso
                          A4) Voices And Trumpet And All
                          A5) J'ai Mal Aux Dents A6)Beim Nächsten Ton Ist Es…
                          A7) Two Drums, Bass, Organ
                          A8) Dr. Schwitters Intro
                          A9) Several Hands On Our Piano (Continued)
                          A10) Beam Me Up, Scotty
                          A11) Elerimomuvid
                          A12) Dr. Schwitters (Continued)
                          A13) Have A Good Time, Everybody
                          A14) Above And Under Our Piano
                          B1) Hermanns Lament
                          B2) Donnerwetter
                          B3) Was Ist Hier Los?
                          B4) Rudolf Der Pianist
                          B5) Ricochets
                          B6) I've Heard That One Before
                          B7) Watch Your Step
                          B8) Under Our Piano Again
                          B9) Fluid Chorus
                          B10) Stretch Out TimeB
                          B11) Der Baum
                          B12) Chère Chambre

                          LP4/CD4 Faust IV


                          A1) Krautrock
                          A2) The Sad Skinhead
                          A3) Jennifer
                          B1) Just A Second / Picnic On A Frozen River, Deuxième Tableau
                          B2) Giggy Smile
                          B3) Läuft… Heisst Das, Es Läuft Oder Es Kommt Bald?… Läuft!
                          B4) It's A Bit Of A Pain

                          LP5/CD5 Punkt

                          A1) Morning Land
                          A2) Crapolino
                          A3) Knochentanz
                          B1) Fernlicht
                          B2) Juggernaut
                          B3) Schön Rund
                          B4) Prends Ton Temps

                          LP6/CD6 Momentaufnahme I

                          A1) Naja
                          A2) Flaflas
                          A3) Es Ist Wieder Da
                          A4) Mechanika
                          A5) Weird Sounds Sound Bizarre
                          A6) Karotten
                          A7) RéMaj7
                          A8) Fin De Face
                          B1) Vorsatz
                          B2) Acouphènes
                          B3) Interlude 18. Juni
                          B4) Dadalibal
                          B5) Bonne Soupe Au Fromage
                          B6) Rückwärts Durch Die Drehtür

                          LP7/CD7 Momentaufnahme II

                          A1) Danach
                          A2) Gegensprechanlage
                          A3) Lampe An, Tür Zu, Leute Rein!
                          A4) Purzelbaum Mit Anschubsen
                          A5) Tête-à-Tête Im Schredder
                          A6) Dampf
                          A7) Testbildhauer
                          A8) I Am... An Artist
                          B1) Wir Wollen Mehr Volumen Kriegen
                          B2) Arrampicarsi Sul Vesuvio
                          B3) …und Alles durcheinander
                          B4) The Fear Of Missing Out
                          B5) Ma Trompette
                          B6) As-tu Vu Mon Ombre?

                          7 “Single 1 /CD8

                          A1) Lieber Herr Deutschland
                          B1) Baby

                          7” Single 2 /CD8

                          A1) So Far (Single Version)
                          B1) It's A Bit Of A

                          Shrouded in myth, 'Save Your Software' is the long-lost album by Der Plan. Back in the mid-1980s, Moritz Reichelt, Kurt Dahlke (Pyrolator) and Frank Fenstermacher initiated the Fanuks project with the aim of making themselves immortal as Mensch-Maschinen or Man-Machines. By the end of the decade, the Fanuks, or their respective human alter egos, had crafted six pieces. These were only rediscovered in 2020 during a thorough inspection of the Ata Tak/ Der Plan archives. Reichelt, Dahlke and Fenstermacher augmented their six visionary masterpieces with three tracks based on compositions from the year 1989. Now it works at least a little with eternity, even if 'only' in the form of the legendary productions that have finally been made available to the public.

                          TRACK LISTING

                          A1. Copy Copy Machine
                          A2. Cyberspace
                          A3. Uin Uin Mun Kona Bap Uin
                          A4. LP 3
                          A5. Repair Yourself
                          A6. Save Your Software
                          B1. Die Geschichte Der Fanuks
                          B2. I Can Love
                          B3. I Want To Sing Like Ella
                          B4. Fanuk Rock

                          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)

                            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

                                "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)

                                Welcome to the world of Dunkelziffer - a hip hive mind who buzzed away in the post-industrial decay of Köln’s Stollwerck complex. Taking a radical approach to sound, style and group dynamics, this loose collective of musicians and artists blazed an experimental trail through the 80s, offering an alternative vision of German pop fit for a decade of constant change.
                                Emerging in the wake of Can’s late seventies supernova, Dunkelziffer became the centre of gravity for a new era of creativity in Köln. Embracing the stylistic freedom of this fresh start alongside the time and space offered by their residency in the Palazzo Schoko, their jam sessions, often including associates from the Food Band, Phantom Band and Catalans Dream Band as well as anyone passing through, soon segued into a (slightly) more formal ensemble, though free-thinking and free-movement remained central ideologies.
                                Leaving egos well outside the door, Dunkelziffer wrote and recorded with no hierarchy, offering each member an equal stake in songwriting and sonics. Unsurprisingly the result is a wild stylistic fusion, equal parts art-rock, dub, soul, and jazz which, to the eternal credit of the collective comes together with an unconventional brilliance. On their 1983 debut, Colours And Soul, Dunkelziffer offered an hour long odyssey through the fringes of the pop landscape, creating a kaleidoscopic journey through sun-kissed skank, coastal funk, demented drum circles and tachycardic new wave. Appearing from the chaos of an outboard explosion, opener ‘Kedema’ lays the foundations for the seductive strangeness which follows, rewiring a lilting dub rhythm with skewed synth tones and curious percussion as late-Can man Rebop Kwaku Baah’s unique vocals form a lopsided melody. Island undulations give way to angular excitations on ‘Bleib Night So Lang Im Schatten Stehn’, a propulsive piece of new wave live with Wolfgang Schubert’s skronking horns and some poised female vocals. From there the group bask in the light of their own miracle, surrendered to the seven minute groove of ‘This is How You Came’, a sublime psychedelic blend of hypnotic bass, frazzled guitars and jazz-rock interludes. ‘Keine Python’ signposts the way to Babylon by autobahn before tribal electronic trio ‘Dark Number’, ‘Stil Der Neuen Zeit’ and ‘Zufall In Der Wirklichkeit’ take us to the midpoint in a polyrhythmic trance.
                                ’S.O. 36’ opens the B-side with an overload of adrenaline as a lurching AKAI-ready half time transforms into the fast paced motorik stomp of a jazz-punk freakout. The dance-floor friendly ‘Strom’ follows, embracing a similar strain of sticky industrial funk as Unknown Cases’ anthemic ‘Masimba Bele’, while ‘Free’ leads us back into the light, riding the thermals over a sparkling shoreline as the cannabis psychosis gives way to the purest reggae high. The playful ‘Colours And Soul’ serves some hip and horizontal diy-dub on the B4, beachballs splashing into the surf before interlude ‘Arche Noah’ nudges into the highlife heat beat of ‘Don’t Ask Me’. Finally it falls to ‘Beside The Light’ to close out the set, a hazy piece of ecstatic pop equally informed by each of the diverse influences which came before. In some ways this is the story of the LP in a song; experimental ideas in accessible form, delivered by a group free to enjoy their journey without worrying about the destination.


                                TRACK LISTING

                                Side 1
                                1. Kedema (4:11)
                                2. Bleib Nicht So Lang Im Schatten Stehn (2:30)
                                3. This Is How You Came (8:03)
                                4. Keine Python (3:03)
                                5. Dark Number (2:19)
                                6. Stil Der Neven Zeit (3:52)
                                7. Zu Fall In Der Wirklichkeit (2:41)
                                Side 2
                                1. SO3 6 (3:07)
                                2. Strom"(3:52)
                                3. Free (5:13)
                                4. Colours & Soul (3:49)
                                5. Arche Noah (1:38)
                                6. Don't Ask Me (4:25)
                                7. Beside The Light (6:39)

                                Dunkelziffer

                                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.

                                  Sorbet

                                  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.

                                    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?

                                    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.

                                      Camera

                                      Prosthuman

                                        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
                                        1.Kartoffelstampf
                                        2.Alar Alar
                                        3.Prosthuman / Apptime
                                        4.Überall Teilchen / Teilchen Überall
                                        5.Freundschaft

                                        Side B
                                        1.El Ley
                                        2.Schmwarf
                                        3.A2
                                        4.Chords4 / Kurz Vor
                                        5.Harmonite

                                        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)

                                        Mapstation

                                        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).

                                          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!

                                            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
                                            Og

                                            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

                                              Strangeworld

                                                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. 

                                                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

                                                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

                                                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. 

                                                    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)

                                                    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)

                                                    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

                                                      Cheyenne

                                                        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.

                                                        Cheyenne
                                                        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.

                                                            Solarize

                                                            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.

                                                                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)

                                                                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

                                                                  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.

                                                                    Schlammpeitziger

                                                                    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'.

                                                                      Der Plan

                                                                      Unkapitulierbar

                                                                        Der Plan have met in the studio after 25 years and recorded a new album. One can claim without exaggeration that DER PLAN were one of the - and perhaps the most -powerful German bands during the time of musical adventure at the beginning of the 1980s. Maybe they still are?

                                                                        Conrad Schnitzler

                                                                        Filmmusik 2

                                                                        Part 2 of the double release - now with historically correct titles In the year 1975 Conrad Schnitzler recorded various pieces of music to accompany films which had yet to be made. Fittingly, he labelled this collection of songs "Filmmusik". Only one of the tracks - "Gute Fahrt" (Nice Journey) - would ultimately be paired with a film, now traceable on the internet for all to see. The music is included on Part 1 of our Filmmusik double release, erroneously entitled "02/1980". Why the incorrect title? The tapes which served as source material for our two Filmmusik releases were copied onto two data carriers then mislabelled. To be precise, one label was accurate - "Filmmusik 1975 A" - but the other, "Filmmusik 1980 B", was not. All the tracks had been created in the same year, so it should have read "1975 B". In the absence of actual song titles, we simply gave them numbers. Ignorant of the above mentioned film at the time, we called the track "02/1980", when we should have called it "02/1975 B" or, as we would later discover, "Gute Fahrt". Shortly after we released "Filmmusik 1", Jin Kawai, curator of the official Schnitzler website www.fancymoon.com, contacted us to set us right. In 2009, whilst sorting through reels of film (some shot by Schnitzler himself) and music to upload to the site, Kawai was particularly drawn to one piece entitled "Gute Fahrt". Were there any more tracks like this? Schnitzler told him there were and sent Kawai all of the other recordings. One half of "Filmmusik 2" comprises tracks from the 1975 series, the other half is a 23 minute piece with the title "Lichtpunkte und schwarze Zeichen". This music was actually written for a film (which can also be found on the internet, naturally) in 1978. We were delighted to find it in 2015 and enthusiastically searched the Schnitzler archives for more of the same. This led us to the (in some cases, incorrectly labelled) 1975 recordings and the rest is history.

                                                                        From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. His first two solo works are now being reissued with extensive liner notes and rare photographs. The influence of Tangerine Dream can clearly be heard on "Romance 76", although the arrangements are comparatively minimalist-a state of affairs for which David Bowie can be held partially responsible (see below).

                                                                        With Peter Baumann on board, Tangerine Dream grew into one of the most influential bands in electronic Krautrock, sited somewhere between experimental electronica and progressive rock. Open to new ideas, Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts.

                                                                        After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums-including "Atem", John Peel's nominated import album of 1973-Baumann called time on his solo career with "Romance 76". "We found some time between tours and record productions, so Edgar recorded a solo disc and helped Christoph and me to develop our own music too. 'Romance 76' resulted from the urge to create new music. I felt we had begun repeating ourselves in Tangerine Dream and I was keen to discover new things, to carry on experimenting. Improvisation had been common to us all, but on your own it isn't quite so simple. I started to work on my own pieces." This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that's another story.

                                                                        Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record "Romance 76". Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened "The Big One" can be detected on "Romance 76", for example, along with a Mellotron.

                                                                        Some tracks on the album, such as "Romance" and "Phase By Phase", are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.'" At which point Baumann decided to look at the tracks in question as finished.

                                                                        TRACK LISTING

                                                                        1. Bicentennial Presentation (4:52)
                                                                        2. Romance (6:08)
                                                                        3. Phase By Phase (7:41)
                                                                        4. Meadow Of Infinity Part I (3:48)
                                                                        5. The Glass Bridge (3:45)
                                                                        6. Meadow Of Infinity Part II (6:45)

                                                                        Adelbert Von Deyen

                                                                        Sternzeit

                                                                          Adelbert von Deyen is a protagonist of the so-called Berlin School (Berliner Schule) of electronic music. On his debut album Sternzeit, he takes his time to develop sound structures, often drifting, floating blissfully into tonal interference. The listener also requires time and patience, but will be rewarded with a Zen-like state of contemplation. Adelbert von Deyen's musical backstory follows a less than typical path.

                                                                          He recalls: "To make the best use of my evenings, I finally bought a second-hand synthesizer, various electronic keyboard instruments and a tape machine, plus a few bits and pieces you need to make music. If I didn't have enough money, I asked the bank. During the day I worked as a retoucher for a newspaper and in the evenings, I composed my celestial electronic sounds, invariably deep into the night. It took me around eight months to finish my first compositions. I made tape copies which I sent out to various record companies. I struck lucky straight away: Sky Records in Hamburg were interested in my music and my first record was granted a worldwide release in 1978. I called it Sternzeit and I painted the cover myself."

                                                                          This was indeed a stroke of luck for a newcomer like Adelbert von Deyen. Founded by Gunter Kurber in 1975, the label had already hosted acclaimed releases from electronic and Krautrock stars like Michael Rother, Hans-Joachim Roedelius and even Brian Eno. A decent level of public interest was thus guaranteed.

                                                                          The Sternzeit album was issued as catalogue number SKY 019, one of the early releases on the label.In principle, many elements on this first album reappear on the two which followed (to be reissued January 2017): rich analogue layers, the swirling winds of the ARP Odyssey, masterful synth effects sprinkled so delicately.

                                                                          The second side of the record is devoted to a single track which is based on an incessant organ tone and played with vibrato, engendering a hypnotic sense of weightlessness. Keyboarders often taped down keys on their organs or synthesizers to create such effects back in the day. Adelbert von Deyen is an unconventional musician. When he performs, he sits down with his back to the audience, focussed on his arsenal of equipment. The way he has unreservedly followed his passions for music and artistic creativity speaks volumes about his free-thinking nature. Adelbert von Deyen mixed and produced this album in his own small studio on a Revox A77 tape recorder.

                                                                          Lloyd Cole

                                                                          1D Electronics 2012-2014

                                                                            Lloyd Cole is mostly know for his outstanding pop music, but he certainly has a taste for electronic music. In 2013 he released an highly acclaimed album together with electronic music legend Hans-Joachim Roedelius (BB124 "Selected Studies Vol. 1") for whom he also curated a compilation of his electronic music recordings (BB187 "Kollektion 2. Roedelius - Electronic Music. Compiled by Lloyd Cole"). Finally we are happy to announce the release of a solo album with lloyd's electronic music on September 4th: "1D Electronics 2012-2014". Some pieces were originally created with overdubs by another in mind. Some were simply experiments. One or two may have had loftier ambitions…. None of the pieces involves the use of a piano keyboard or a computer, except to record it. Some modulations were executed by hand. Most were generated by programmed sequencers and logic. Each piece is a self contained electronic circuit.

                                                                            Harald Grosskopf is best known as drummer in the band Ashra and for Klaus Schulze and as an electronic musician. Following “Synthesist” (1980), “Oceanheart” was his second solo album. It may sound like a child of the 1980s, but in a compositional sense it is related to the Berliner Schule / Berlin School of the 70's
                                                                            .
                                                                            Tired of the rock format and excited by the freedoms promised by electronic music, Harald Grosskopf quit Wallenstein, a conventional rock band, in the mid-seventies to turn his attention to electronica. Grosskopf thus became the first drummer to specialize in the electronic music field. He played drums on Klaus Schulze’s albums “Moondawn” and “Body Love” and on YOU’s “Electric Day”. When Manuel Göttsching from Ash Ra Tempel asked him if he would consider enrolling as the regular drummer in the group now rechristened Ashra, he did not need to think about it for long. Grosskopf changed course again in the eighties, this time in pursuit of commercial success: he played in the NDW (Neue Deutsche Welle) group Lilli Berlin and backed Joachim Witt on his best-selling “Silberblick” LP, which featured the hit “Goldener Reiter”.

                                                                            Sky, the record company, were more than a little disappointed with the performance of Grosskopf’s first solo effort “Synthesist”, so there was no great sense of urgency as far as its successor was concerned. “They even halved my advance!” Grosskopf recalls. “Oceanheart” was released some six years after “Synthesist”. “The album title reflects my love of transcendental meditation, of course it might be taken for watery esoterics.” (A similar vibe was evident in the cover art, hence fresh artwork has been created for the reissue.) Musical equipment for the production was limited by the label’s ongoing thrift programme. The first “Oceanheart” recordings took place “under the roof” in the Lilli Berlin Studio, Kreuzberg. They were completed at the Spandauer Studio by former Tangerine Dream member Christoph Franke. “We mixed everything down and recorded the drums there.” Harald Grosskopf again played everything himself, except for the tablas. In keeping with its predecessor, “Oceanheart” was no bestseller, but, like “Synthesist”, it attained cult status, rediscovered in recent years through the internet by a younger generation. Harald Grosskopf himself needed time to appreciate the work: “I only really discovered the musical quality of ‘Oceanheart’ years later. I finally realized that I had created something quite special.” - Christoph Dallach

                                                                            TRACK LISTING

                                                                            1. Eve On The Hill (10:30)
                                                                            2. While I'm Walking (4:44)
                                                                            3. Oceanheart (4:59)
                                                                            4. Coming Out (3:25)
                                                                            5. Pondicherry Dream (3:42)
                                                                            6. Minimal Boogie (10:54)

                                                                            Kreidler

                                                                            ABC

                                                                              2014 marks twenty years of Kreidler. The band has outgrown adolescence, but remains juvenile, reckless, impetuous. They recorded their new album ABC in Tbilisi, Georgia. And there will also be a film - by Heinz Emigholz, who accompanied the last album DEN with film clips.ABC. Like Tank, it's two times three: Six tracks characterized by elliptical shifts, where suddenly the bass and drums take over the helm - or a choir appears.Indeed, a choir. Kreidler worked together with Georgian singers: Either hovering freely in the meditative pop piece Ceramic,or defining a new space within a space,as in Nino. As always with Kreidler, ABC is about the exploration of freedoms within a previously determined framework. It is a formulation of convergences, of possibilities within a procedural movement, based on a notion of democracy, with socialism in mind, where one understands that restraint is not merely a strategy of a conceptually inclined band, but that it serves to strengthen the validity, precision and majestic authority of expression.

                                                                              Cluster

                                                                              Apropos Cluster

                                                                                Cluster (Dieter Moebius, Hans-Joachim Roedelius) are pioneers of electronic music and key Krautrock protagonists. In the late 1960s, together with Konrad Schnitzler as the trio Kluster, they changed the world of music for ever with their radical improvisations.Having split from Schnitzler, Moebius and Roedelius continued as Cluster, releasing eight further milestones of electronic and ambient music up until 1981, two of them with Brian Eno. A hiatus lasting almost a decade was brought to an end in 1990 when Cluster made a surprise comeback with 'Apropos Cluster'.Liner notes by Asmus Tietchens.

                                                                                Kreidler / Automat

                                                                                Split EP

                                                                                  THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                  2014 sees the 20th anniversary of German electronic pioneers Kreidler. There'll be a tour, a movie by Heinz Emigholz and new album release “ABC” (which has been recorded in Tbilisi, Georgia). Featured here is an unreleased outtake from the album session. Jochen Arbeit, Achim Färber and Georg Zeitblom have been collaborating under the name Automat since the end of 2011. Their debut album will be available from 4th April 2014, featured here are three unreleased outtakes from the album. The song “Berlin Wall” is a collaboration with Throbbing Gristle’s & Psychic TV’s Genesis Breyer POrridge.

                                                                                  TRACK LISTING

                                                                                  A1: KREIDLER: Snowblind /
                                                                                  A2: Escaped
                                                                                  B1: AUTOMAT: Berlin Wall (Feat. Genesis Breyer P-Orridge)
                                                                                  B2: AUTOMAT: MTY
                                                                                  B3: CUL

                                                                                  Electronic duo Ulrich Schnauss (A Long Way to Fall, A Strangely Isolated Place) and Mark Peters (of the band Engineers) return with a second collaborative album titled Tomorrow is Another Day, released by Bureau B. This second project offers a sublime exploration into their signature expressionistic landscapes while exploring the potential of a collaborative model in which Schnauss's keyboards and Peters's guitar work together in juxtaposition.

                                                                                  Ulrich Schnauss, born in the industrial port town of Kiel in northern Germany in 1977, emerged in Berlin's drum 'n bass scene in the mid-1990s. Mark Peters was born in Liverpool in 1975 and embraced a deeply euphonic pop aesthetic that incorporated intricate formal structures. The two musicians met years ago when both were making shoegaze music and formed a close friendship. Schnauss joined Peters's band Engineers as a keyboardist in 2010. After the collapse of the second-wave shoegaze movement in the early 2000s, both musicians drifted away from the genre's dreamy, shimmering aesthetic and returned solidly to their own musical roots. Peters has subsequently explored classic, guitar-based music and Schnauss has returned to his origins as an electronica producer.

                                                                                  Tomorrow is Another Day represents a maturing of the pair's creative process. Following their first collaborative album titled Underrated Silence (2012), which seamlessly blends the two instrumental voices into an integrated sonic landscape that delivers surprisingly intense emotion beneath the surface of its delicate composition, Schnauss and Peters subsequently began to craft a musical exchange in which each musician's contribution was emphasized in contrast to the other's voice. The differences in Schnauss' and Peters's musical backgrounds are highlighted and embraced as their two voices emerge in dialogue. Here, the synths are drier, the guitars more discreet. The shifting tonality of the music's richly layered patterning defines its composition with punctuated gestures as melodic lines emerge in sharper relief. With neither musical style overpowering the other, the effect is that of two equally masterful voices in coherent conversation, celebrating the dynamic nature of instrumental combination and exploring a new method of creative approach - one that allows for concurrence and dissent, in turn.

                                                                                  TRACK LISTING

                                                                                  1. Slow Southern Skies
                                                                                  2. Tomorrow Is Another Day
                                                                                  3. Das Volk Hat Keine Seele
                                                                                  4. Inconvenient Truths
                                                                                  5. One Finger And Someone Else's Chords
                                                                                  6. Additional Ghosts
                                                                                  7. Walking With My Eyes Closed
                                                                                  8. Rosmarine
                                                                                  9. Bound By Lies
                                                                                  10. There's Always Tomorrow

                                                                                  Roedelius

                                                                                  Offene Turen

                                                                                    Originally released 1982 on Sky 072

                                                                                    The music: electronical chamber music that impressively renders audible Roedelius' musical transition from the 70s into the 80s. Complex, vibrant, enigmatic, avant-garde, timelessy beautiful.

                                                                                    "Offene Türen" is a purely electronic album. Without losing himself in their infinite tonal possibilities, Roedelius delights in playing a selection of synthesizers. He even deploys an analogue rhythm machine now and then to discreet effect. Roedelius takes great care to steer well clear of any cosmic fog or depersonalised abstractions. Nothing of the sort can be heard, as he focusses intensely and exclusively on the relationships of rhythm, harmony and melody. Roedelius conjures up their delicate timbres on synthesizer with the greatest of ease. The seasoned electronic musician would have found similar results beyond the reach of his good old Farfisa organ.

                                                                                    180g vinyl.

                                                                                    Kreidler was founded in Düsseldorf in 1994 by Thomas Klein, Andreas Reihse, Detlef Weinrich and Stefan Schneider (who left to form To Rococo Rot) Kreidler have been asked to remix artists such as Depeche Mode, Einstürzende Neubauten and Faust among 20 others and cooperated with artists like Klaus Dinger (NEU!), Add (N) to X, Young Gods, Theo Altenberg, Momus, Leo Garcia, Pyrolator and Chicks on Speed

                                                                                    'Den' is Kreidler's eleventh regular album It could be said that 'Tank' - Kreidler's critically acclaimed previous album - is a drum album. Not in the sense of the brute force of a Ginger Baker or a John Bonham, but more in terms of the elastic muscularity of a Budgie, a Robert Görl or a Klaus Dinger. So in the case of 'Den', if attempting yet another such broad categorization, one might draw attention to the album's viscous musicality. Indeed, for recording and mixing, Kreidler chose to work at LowSwing, a studio renowned for its round sonic character, with the magnificent Guy Sternberg at the controls. The album's opening track 'Sun' displays an inspired beauty that is perhaps reminiscent of Eno during those periods in which he was interested in songwriting. Pan-Asian counter-melodies interplay around the stoic but light architecture of 'Deadwringer'. And 'Rote Wuste' is a mysterious painting, spanning a vast emotional arc between it's dark beginnings and the possibility of a conciliatory resolution. The heavily grooving 'Cascade' finds an utterly mesmerized Alex Paulick on guitar - just how many chord changes does Andreas Reihse get through? But one nice aspect of Kreidler is that those kinds of things hardly matter. Kreidler never burden the listener with strict didacticism. Everything flows naturally.

                                                                                    The blue album from 1974 and was Schnitzler's second solo LP. Digipak reissue with liner notes by Asmus Tietchens, rare photos and six bonus track (CD + download only) On the red album, Konrad Schnitzler laid down the direction his musical artistry would take. The blue album ("Blau") offered confirmation of his intent. Maybe the "Rot" and "Blau" tracks were recorded in the same session. Structure, sound and timbre of both LPs are so similar as to suggest that this was the case (an unverified assumption nevertheless!). Far more important than this historical pedantry is the fact that Schnitzler included two brand new compositions on "Blau" which followed on seamlessly from the previous album. Quite simply, he had found his way, a course from which he would not stray as long as he lived.

                                                                                    The so-called Berlin School (Berliner Schule) - with Konrad Schnitzler one of their number - had developed its own style of minimalist music. Clearly distinct from Anglo-American pop music, and no less removed from the minimalist art music of Steve Reich or Philip Glass, the focus here was on electronics and elementary rhythmics. The Berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. With the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. "Blau" is an archetypal example of this very phenomenon. Schnitzler's style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times. Already a figure of prominence, perhaps he will one day be elevated to the status of a legend.

                                                                                    TRACK LISTING

                                                                                    1. Die Rebellen Haben Sich In Den Bergen Versteckt
                                                                                    2. Jupiter
                                                                                    3. Wild Space 1 (Bonus Track)
                                                                                    4. Wild Space 2 (Bonus Track)
                                                                                    5. Wild Space 3 (Bonus Track)
                                                                                    6. Wild Space 4 (Bonus Track)
                                                                                    7. Wild Space 5 (Bonus Track)
                                                                                    8. Wild Space 6 (Bonus Track)

                                                                                    D.A.F.

                                                                                    Ein Produkt Der Deutsch-Amerikanischen

                                                                                      The debut by Deutsch-Amerikanische Freundschaft was a feat of musical pioneering. Later to find global fame as a duo, DAF's 1979 line-up of Robert Gorl, Wolfgang Spelmans, Kurt Dahlke (Pyrolator) and Michael Kemner created what was quite possibly the worlds first noise-rock album. Radical, brutish, instrumental.

                                                                                      Originally released in 1979 on Warning Records (later Ata Tak)

                                                                                      Reissue in digipak with liner notes, rare photos and memorabilia.

                                                                                      True DAF connoisseurs will, of course, be aware of the early phase of the Dusseldorf-Wuppertal combo. But most fans of the subsequently world famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, Gabi Delgado and leather all conspicuously absent. In their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types! A band can barely have undergone a more extreme metamorphosis. Gabi Delgado joined the band before the band discarded the name of YOU and christened themselves Deutsch- Amerikanische Freundschaft. A tape machine and two microphones were set up in Wolfgang Spelmans living room and ten days of unbounded improvisation ensued. And thus it was completed, Produkt der Deutsch- Amerikanischen Freundschaft ; 22 tracks, ranging from 19 seconds to three minutes in length. The influence of Can is clearly audible. Considering the fact that other prominent noise-rock bands such as Chrome, Flipper or even Sonic Youth recorded similar music at a much later date, this 'product of Deutsch-Amerikanische Freundschaf¨ should certainly be recognized as a pioneering work. Possibly even the first noise-rock album.

                                                                                      Produced by the team at Machines With Magnets who have worked with Lightning Bolt, Clap Your Hands, Say Yeah, Fang Island and Battles

                                                                                      Moebius & Renziehausen

                                                                                      Ersatz

                                                                                        Latest in Bureau B's series of Kraut Rock reissues.

                                                                                        'Ersatz' was originally released in 1990 on the Pinpoint label.

                                                                                        The music: surrealist, minimal / experimental electronics. "Adventures in sound, a world brought to life by the most remarkable characters and atmospheres." (Asmus Tietchens)

                                                                                        Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany. Alongside his bands Cluster and Harmonia he participated in numerous collabo-rations (e.g. with Brian Eno, Mani Neumeier/Guru Guru and Conny Plank).

                                                                                        1990 sees Dieter Moebius enter new musical territory, cautiously reconnoitering the digital world. His companion on this excursion is Karl Renziehausen, a visual artist and constructor of sound sculptures. The two of them distance themselves sonically and musically from existing Moebius collaborations with Conny Plank and Gerd Beerbohm (almost all of which have been reissued on Bureau B); similarly, only sporadic echoes can be heard of Cluster and Harmonia, two projects whose style Moebius influenced significantly over a number of years. There is an exactness to the music of Moebius und Renzie-hausen, who allow nothing to stray from their chosen path. They stage seven little musical comedies with different plots, much as if they were writing for the theatre. Common to each of the pieces is a prevailing mood of surrealism. Although Moebius and Renziehausen frequently cross the boundaries of tonality, they still remain firmly grounded. The connection to the real world is never completely severed. Which is what makes this music so puzzling to anyone willing to engage with it: the occasional fleeting sense of something familiar, yet no sooner than something appears which one might have heard before, it disappears again, replaced by something new and unrecognizable. Listeners can look forward to nine meticulously crafted soundscapes of uncharted, fantastic regions.

                                                                                        The musicians: Ulrich Schnauss, born in Kiel in 1977, now residing in London, three solo albums released to date, Engineers keyboard player and an in-demand remixer (Mojave 3, Depeche Mode, Lunz/Roedelius, to name just a few). Mark Peters, born in Liverpool in 1975, bass player, guitarist, vocalist and songwriter in the British band Engineers, also three album releases to their name thus far.

                                                                                        The music: synthesizer, piano, guitar and drum computer, a reduced, yet bacchanal instrumental combination of ambient, electronica and shoegaze sounds. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Gottsching for example. A brother in spirit of Robin Guthrie one might say, an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following the footsteps of his musical paragons. Engineers have released wonderful albums of dream pop, infused with the same spirit as the solo efforts of Schnauss.

                                                                                        TRACK LISTING

                                                                                        1. The Messiah Is Falling
                                                                                        2. Long Distance Call
                                                                                        3. Forgotten
                                                                                        4. Yesterday Didn't Exist
                                                                                        5. Rosen Im Asphalt
                                                                                        6. The Child Or The Pigeon
                                                                                        7. Ekaterina
                                                                                        8. Amoxicilin
                                                                                        9. Gift Horse's Mouth
                                                                                        10. Underrated Silence

                                                                                        Hans-Joachim Roedelius

                                                                                        Gift Of The Moment - Geschenk Des Augenblicks

                                                                                          Tenth solo album, first released in 1984. His most commercially successful album to date.

                                                                                          On “Gift of the Moment” Roedelius broke away unequivocally from purely electronic music. If “Lustwandel” and “Jardin au fou” had seen the process set in motion, this was the album that completed the transition. Following the “Selbstportraits”, which had at least been created through the use of electric organ and synthesizers, Roedelius focussed on the grand piano, sometimes accompanied by a cello, violin and guitar. Distant echoes of a not so distant musical past could only be detected in the occasional appearance of sparse chords played on a polyphonic synthesizer. The album wore a veil of delicate melancholy: no vibrant folk dances, no colourful carousels, no cheerful melodies. Instead, Roedelius offered a calm, almost detached form of music, openly acknowledging romantic heritage. “Gift of the Moment” eluded contemporary definitions of the “experimental” concept, as Roedelius was now experimenting in new, eclectic areas, too weighty, too grainy to be labelled “Proto New Age”. Roedelius was not striving for perfection, but for authenticity, a music stripped of disguise; and to this end he left little playing errors in the mix, fading out tracks rigorously to eliminate any bigger blunders.

                                                                                          1980 album from post Can project.

                                                                                          Phantom Band is: Jaki Liebezeit (Can etc.), Rosko Gee (Can, Traffic), Helmut Zerlett (eg Dunkelziffer, Unknown Cases), Dominik von Senger (eg Dunkelziffer, Damo Suzuki Band/Network), Olek Gelba, Sheldon Ancel.

                                                                                          Guest musician: Holger Czukay

                                                                                          The music on “Phantom Band”: Can-style monotonic polyrhythms meets afrobeat, funk, jazz, disco, reggae, dub.



                                                                                          Cluster

                                                                                          Sowiesoso

                                                                                          Originally released in 1976; melodic and atmospheric, the blend of electronic rhythms and quirky bubbly sounds combined with piano and a few bits of guitar here and there to create pure bliss.

                                                                                          'The evocative toybox melodies (usually the Roedelius compositions) on 1974's "Zuckerzeit" reached their peak with "Sowiesoso", courtesy of ambling pieces like "Dem Wanderer", the title track, and the vaguely Oriental "Halwa". The drum programs are still irresistibly simplistic (not to say simple), but even when Sowiesoso stretches out into primarily beatless terrain ("Es War Einmal", "Zum Wohl"), the album retains its power.' (All Music Guide)

                                                                                          "Jardin Au Fou" is the second solo album by German keyboardist Hans-Joachim Roedelius, best known for his work with Cluster, Harmonia, and Aquarello. Recorded from April through July, 1978 at Paragon Studios in Berlin, it was produced by former Tangerine Dream member Peter Baumann and released by the French label Egg in 1979. The original release included 10 tracks but the final short piece, "Final", was left off the tracklisting on the original album cover.


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                                                                                          Looking great John 👌Thanks for ordering and sharing 🙏 https://t.co/rHCupRQrAG) @DeadOceans @whereisMUNA https://t.co/B0pGopRUjc
                                                                                          Fri 24th - 12:45
                                                                                          Yes, physical copies available July 1. Get your pre-orders in here 👇 https://t.co/H9F4EMsMfb) @TheVintageCrop https://t.co/lvQfXTbhYH
                                                                                          Fri 24th - 12:12
                                                                                          #newmusicfriday has come round once again 🙌 Here’s a small selection of some of the great records out today. Labe… https://t.co/sVeUkRwTNe
                                                                                          Fri 24th - 12:07
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