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Die Wilde Jagd

Die Wilde Jagd

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

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

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

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

    Schneider Kacirek

    Radius Walk

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


    Electronique Guerilla (Heldon I)

      Debut album by the groundbreaking French space rock electro project (1974).

      Heldon = Richard Pinhas with a variety of guest musicians on different tracks.

      The music: a psychedelic sonic symbiosis of a 1954 Gibson Les Paul and an EMS Synthi AKS.

      Special guest appearance by the French philosopher Gilles Deleuze reciting Nietzsche! 


      Allez-teia (Heldon II)

        Sophomore album from the French space rock electro combo (1975)

        Here, Heldon mastermind Richard Pinhas has formed a duo with Georges Grunblatt.

        The music: an interplay of feather-light acoustic guitars, Mellotron textures, fuzzy sounds and heavy, spherical synthesizers.

        Richard Pinhas


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

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


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


          Damenbartblick Auf Pregnant Hill

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

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


            Vinyl comes with CD version of the album enclosed.


            Les Cassettes 1980-1983

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

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

              Andreas Spechtl

              Thinking About Tomorrow, And How To Build It

                Andreas Spechtl's unbelievable new album "THINKING ABOUT TOMORROW, AND HOW TO BUILD IT" is a multi-faceted work. Andreas Spechtl constructs an emotional bridge to the cosmic music of Can and the aural sculptures of Conrad Schnitzler. It is a modern and hybrid album .

                FORMAT INFORMATION

                Vinyl comes with CD version of the album enclosed.



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


                  Cluster & Farnbauer Live In Vienna 1980

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

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

                    STAFF COMMENTS

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

                    FORMAT INFORMATION

                    Vinyl comes with CD version of the album enclosed.

                    Moebius / Schneider


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

                      Moebius Story Leidecker


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

                        Harald Grosskopf & Eberhard Kranemann


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

                          FORMAT INFORMATION

                          Vinyl comes with CD version of the album enclosed.


                          Mara I

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

                            FORMAT INFORMATION

                            Vinyl comes with CD version of the album enclosed.


                            Mara II

                              The dark and hidden polyphony of their debuts Mara I / Mara II sounds like a dystopic science fiction movie and is a fundamental ground element and origin on which these haunting minimal compositions are based on. Track names are partly reflections of biogeograhy and cartography of the place where the material was recorded.

                              FORMAT INFORMATION

                              Vinyl comes with CD version of the album enclosed.

                              Der Plan


                                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?

                                FORMAT INFORMATION

                                Vinyl comes with CD version of the album enclosed.

                                The two authorized recordings presented here vividly conjure up the atmosphere, perhaps even the magic, of a Cluster performance back in the day. One took place in 1977 during a science fiction festival in Metz (France). The other dates back to an earlier show in Hamburg's Fabrik venue. Cluster played three gigs in the city in 1971/1972, including the one partially included on "Cluster II". Roedelius and Moebius played in the truest sense of the word, untroubled by mechanical processes. They used their machines but were not dependent on them.

                                FORMAT INFORMATION

                                Vinyl comes with CD version of the album enclosed.


                                Fresh Air

                                  Faust has recorded a new album. It is entitled "Fresh Air" and differs in several respects from its predecessor "Just Us", from the year 2014. At the time, the recordings were made at Péron's rehearsal studio in Schiphorst in northern Germany, hypnotic pieces with the kind of noisemaking the band is known for. For the new album, Péron and Diermaier were looking for communication with musician friends and the audience. The tracks were recorded in changing ensembles at changing locations in the USA (during a 28-day tour in March/April 2016). In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now. Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. Or just phonetically - along the geometry. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub and Ysanne Spevack as a wonderful wavemaker on the viola.

                                  The seven and a half minute title track, which faUSt deliberately placed at the beginning of the album ("so you can enjoy it for a long time," says Zappi Diermaier), begins with the poem by a French school friend of Péron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-Hervé Péron offers a political reading: "Can you breathe calmly here, or are we being poisoned?" "Engajouez vous!" Péron presents this franco-faUStian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl": "Allons enfants de l'Anarchie, notre jour de jouir est arrivé". The call results from wild horror at a collapsing world: "Artists, engage through your songs, L'art pour l'art is finished." Péron quotes with his voice, above the polyphonic undergrowth that colleague Zappi so nimbly unleashes, and Barbara Manning sneaks word sketches from her bag of tricks into the hymn. And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect-based text piece, which starts with Chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and a schnapps and suddenly sees two cows. "Is it from the chlorophyl?" Good question, but no answer comes. At the last moment, these texts also want to join in the shuffle. The words and music and noise fall together continuously, sometimes a track is created completely from the free interplay of the forces that emerge when the musicians in the session approach each other. "Enlightened dilettantism" is the term used by faUSt.

                                  The story of the band can tell that tale nicely. As Krautrockers, Faust (as the name was written before they later reformed) had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. They were big in Britain before the notion of Krautrock had made the rounds in Germany. One can still feel the breathing of this music, the bubbling of this primal soup, in current faUSt pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". But you will also be able to distinguish the as-yet-unheard if you allow yourself enough audio time. The sound of a squeaky door from the house of Jean-Hervé Péron, for which the musician has the same kind of enthusiasm others might reserve for a brilliant guitar riff ("gripping, touching"); or the minute-long fadeout of "Fish", which Zappi Diermaier is so excited about. The only plan is for the band to take off without a plan. "We let the music play through us," says Jean-Hervé Péron. Everything else is up to the listener, to make his own film. Jean-Hervé Péron has a little tip for us: Listen to the fish.

                                  FORMAT INFORMATION

                                  Vinyl comes with CD version of the album enclosed.

                                  Camera / Richard Pinhas


                                    THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                    RSD 2017 - 500 pressing

                                    Faust / Ulan Bator


                                      THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                      RSD 2017 - 500 pressing. Previously unreleased tracks.
                                      Krautrock legends FAUST with two unreleased tracks recorded during the sessions for 2014's 'Just Us; album Ulan Bator's two tracks were recorded December 2016 during the sessions for the album "Stereolith" (BB255). Ulan Bator stand as beacons of explorative songwriting. Formed in Paris in 1993 by Amaury Cambuzat (vocals, guitar and keyboards) and Olivier Manchion (Bass), the band's atmospheric approach to composition has consistently yielded guitar-driven avant-rock at once hypnotic and untamed. 

                                      Peter Baumann / Conrad Schnitzler


                                        THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                        In their 23 years of existence, KREIDLER have often made music that might be described as "dystopian". Kreidler were in a recording studio, in Mexico City, when they were hit by the news of the election of US President Donald Trump. With renewed vigor they realized the studio live sessions of “European Song”, a record that maintains the suppleness and the icy nonchalantly of the the German quartet, but contaminated by a slight claustrophobic feeling, an intensification of the accents as if to face up to exorcised, the fulfillment of such a political event similar to a nightmare that had seemed, until then, rather remote.

                                        STAFF COMMENTS

                                        Barry says: Another masterful collection from Kosmische masters Kreidler. Clanging industrious electronics, driving hypnotic basslines, and Kreidler's textbook execution make this another well-deserved notch on their musical bedpost. As brilliant as expected.

                                        Conrad Schnitzler / Pole


                                        The Con-struct series features different electronic musicians invited into Schnitzler's (Tangerine Dream) unique world of sound and let loose to play with his sound archive and re-construct. This time round it's the turn of Stefan Betke aka Pole, the legendary Dusseldorf electronic musician and founder of Scape label and mastering. He used 50% of Conrad's sounds and added 50% of his own. .

                                        FORMAT INFORMATION

                                        Vinyl comes with CD version of the album enclosed.

                                        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, 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.

                                        Various Artists


                                        EXPERIMENTELLER ELEKTRONIK-UNDERGROUND DDR 1984-1989
                                        compiled by Jestram, Konden, Lippok, Papenfuß

                                        CD and LP including linernotes by Alexander Pehlemann. 

                                        Inspired by Punk and Post Punk, vibrant scenes dedicated to independent self-actualisation by means of sound circulated on self-distributed cassettes, in the 80s the cheapest and fastest medium, were developing not only in the FRG but also in the GDR (=DDR). The artefacts from that era tell of a stance of refusal in practice, and of the possibility to charge up on a high level, in spite of everything. "Magnetband" features 14 exciting experimental-electronic pieces from the GDR that originally have been released between 1984 and 1989 on cassettes only.


                                        Musik Für Metropolis

                                        Dieter Moebius (1944-2015) was one of the most important protagonists of avant-garde electronic music in Germany. He was founder member of Kluster/Cluster (with Conrad Schnitzer and Hans-Joachim Roedelius) and Harmonia (with Michael Rother and Hans-Joachim Roedelius) and worked together with several artists such as Brian Eno, Conny Plank, Mayo Thompson, Hellmut Hattler, Asmus Tietchens, Mani Neumeier, Arno Steffen, Jürgen Engler, Jean-Hervé Péron, Zappi Diermaier, and Chris Karrer. In 2012 Dieter Moebius was invited by Manchester's own Hairbrain to perform music to Fritz Lang's legendary silent film "Metropolis" as part of Future Everything at St Philip's Church in Salford. 

                                        For this purpose he produced pre-arranged tracks and samples to be treated with effects and combined during live improvisation according to the dramaturgical setting of the film. His impressive work reveals its full power and depth in combination with the images from the film. It was his plan to create an album-length version of this music for release. Unfortunately, Dieter Moebius passed away on July 20, 2015 and was not able to complete the project. With the help and support of Dieter Moebius' widow Irene and two longtime musical partners, Tim Story and Jon Leidecker, the Berlin musician Jonas Förster finished the remaining work and completed the production. 

                                        STAFF COMMENTS

                                        Patrick says: Bonus Manchester Fact : The photo on the back cover was taken by Dieter's wife Irene at the Hairbrain / Future Everything event at St Philip's Church!


                                        Cluster Kollektion 06: 1971-1981 Compiled By John McEntire

                                        The first ever (!) compilation of Cluster recordings is released in the KOLLEKTION Series. Compiled by John McEntire (Tortoise / The Sea & Cake).

                                        Cluster's influence on the development of electronic music cannot be overstated. The original trio of Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius released two seminal albums as Kluster before Roedelius and Moebius replaced the K with a C and continued as a duo. They produced eight albums in their most innovative period between 1971 and 1981, two of them together with another pioneer of electronic music, Brian Eno.

                                        Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro and even synthpop. Some call Cluster's music avant-garde, others Krautrock or Kosmische Musik. Few would dispute their immense influence on the music of younger generations, even though commercial success largely eluded them. Hence their first album, as a microcosm of their entire oeuvre, made the list of "100 Records That Set The World On Fire (While No One Was Listening)" in "The Wire" magazine, the ultimate purveyor of good taste.

                                        About John McEntire: Drummer/percussionist; recording engineer/producer. Founding and current member of Tortoise and The Sea & Cake; former contributing/touring member of Red Krayola and Gastr Del Sol. Extensive international touring with these groups and many others. Recording/remixing projects include work with: Modest Mouse, Yo La Tengo, Broken Social Scene, Stereolab, Teenage Fanclub, Jaga Jazzist, The High Llamas, The Fiery Furnaces, Spoon, Blur, and hundreds more. As a member of Tortoise, numerous collaborations with artists such as Tom Ze, Daniel Lanois, Bonnie "Prince" Billy, Cluster, The Ex, Fred Anderson, and Mouse On Mars. Owner/operator of Soma Electronic Music Studios in Chicago, IL since 1995.

                                        STAFF COMMENTS

                                        Barry says: What can be said about Cluster (Kluster/Qluster) that hasn't already been said? Inspiration behind a thousand analogue dreams, and purveyors of the most influential electronic vibes of the past 50 years. Here lies a collection, previously un-collated of some of their greatest works.

                                        Peter Baumann

                                        Trans Harmonic Nights

                                          From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berlin School which had such a profound impact on electronic music. He also enjoyed success as a solo artist. His first two solo works are now being reissued with extensive liner notes and rare photographs. „Trans Harmonic Nights“, Baumann’s second solo album, sees him continue to break free from the gravitational pull of Tangerine Dream. Hans-Joachim Roedelius was recording the „Jardin au Fou“ album at the same time in his Paragon Studio and some of his carefree positivity seems to have rubbed off on Baumann, judging by the music he came up with.

                                          The production phase for “Trans Harmonic Nights” covered 16 months or thereabouts. Having built the studio and taken care of production on albums for Cluster, Asmus Tietchens, Conrad Schnitzler and Hans-Joachim Roedelius, many of which came out on the French label Egg, he had neither the time nor the inclination to focus on his own compositions. Numerous tracks on the album were actually created at the end of the working day, on downtime, just for fun in the unfinished studio. Peter Baumann explains: “It was a completely different time for music, everything we did was spontaneous, in the moment. My first two records happened when I was working in the studio, simply expressing myself as a musician, sensing which emotions, timbres, rhythms and melodies were closest to me.”

                                          This approach shines through the music, underpinning its authenticity and making the album such a delight to listen to today: carefree, playful, unbelievably euphoric. Synth lines are exhiliratingly entwined with synthetic plucks, experimental sounds crystallize into sweet melodies, building into ecstatic breaks. Majestic Mellotron choirs and added vocoder tones lend an ethereal, surreal touch. It is virtually impossible not to get caught up in this rapture, to be swayed by the infectiously upbeat nature of the music. Hans-Joachim Roedelius was producing his Jardin au Fou album at the same time and one might be forgiven for thinking that his carefree positivity rubbed off on Baumann.

                                          Not long after releasing this album, Peter Baumann relocated to the USA where he recorded two more albums by the year 1983, dominated by wave and synth pop sounds. In 1984 he founded his own label, Private Music. In the late 1990s he withdrew from the music business altogether, only resurfacing in May 2016 with a new solo album entitled “Machines Of Desire”.

                                          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.

                                          The beat hammers like the pulse of a pair of lovers on the run from a gang of racist thugs - the sound is manic, but from it speaks a seemingly insurmountable inner strength. This arch of tension is home to Camera. The Berlin band is rightly compared with icons of seventies Krautrock such as Neu! and La Düsseldorf, with a tight and driving sound, yet they are still somehow unpredictable. Hardly any other band understands how to mutate tiny musical nuances into volcanic eruptions like they do. Camera is a motor running at full throttle, where an explosion could occur at any second. Once you have embarked on this crazy journey, you will be fascinated by the alternating current somewhere between a flash flood and roller coaster running off the rails. The cascades of sound convey a blurry image of a boundless desire to revolt, with each blink of an eye threatening to end in purgatory, yet it is damned near indestructible.

                                          Michael Drummer is the ethereal Indian paleface who pummels his drums at every show as if we're in the midst of a 17th Century incarnational ritual. In Steffen Kahles, who hails from the world of film music, he has found the musical partner he needed to enrich the tribal kraut beat with diverse motifs and bold sounds. On the third Camera album "Phantom of Liberty", we hear the clever use of playful sounds such as synths that beam us back into the Commodore 64 computer games of 1984; or slightly cranky keyboard pads, as if created by deliberately manipulating the speed of an old tape machine. With "Phantom of Liberty" Camera show that they have become more mature and complex without losing any of their tremendous energy.

                                          STAFF COMMENTS

                                          Laura says: This third album from Berlin trio Camera continues along a similar, if slightly more meandering, Kraut-rock path as their previous releases, a path already well trodden by the likes of Neu! and La Düsseldorf. The scope of their sound has expanded this time around though, and along with the pummelling drums and motorik rhythms we expect, there are a whole host of keyboard experiments going on: fluid synth washes, spacey swooshes, bleeps and squiggles. At times it sounds like they're soundtracking an 80s computer game, and at others the eerie electronics would be the perfect backdrop to a sci-fi movie. They've definitely upped their game on this album.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies exclusive blue vinyl edition.

                                          Vinyl comes with CD version of the album enclosed.

                                          Adelbert Von Deyen


                                            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.

                                            Having played his way through the 1970s in various rock combos (Medusa, Nine Days’ Wonder), Michael Bundt embarked on a solo career in the latter part of the decade, going on to release three albums which saw him explore the vast potential of electronic music. Delightfullly varied and typical of his willingness to experiment, his music orbits around Krautrock, Berlin School electronica, spacefuturism and synth pop. Electri City was his last album. Electri City was created in 1980 in Bundt’s own studio.



                                              All original albums plus one unreleased (Konzerte 1972/1977), remastered by Willem Makkee Booklet featuring essays on each album and rare photos.

                                              Cluster’s influence on the development of electronic music cannot be overstated. The original trio of Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius released two seminal albums as Kluster before Roedelius and Moebius replaced the K with a C and continued as a duo. They produced eight albums in their most innovative period between 1971 and 1981, two of them together with another pioneer of electronic music, Brian Eno. Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro and even synthpop. Some call Cluster’s music avant-garde, others Krautrock or Kosmische Musik.

                                              Few would dispute their immense influence on the music of younger generations, even though commercial success largely eluded them. Hence their first album, as a microcosm of their entire oeuvre, made the list of 100 Records That Set The World On Fire (While No One Was Listening) in The Wire magazine, the ultimate purveyor of good taste.

                                              The box set contains all eight of the regular LPs which represent their main phase, plus a previously unreleased album of two live recordings from the years 1972 and 1977. All of the albums have been remastered by Willem Makkee. Asmus Tietchens has contributed an exclusive text on the evolution and significance of the band. The booklets also include essays on each individual album.

                                              FORMAT INFORMATION

                                              LP Box Set Info: 180g vinyl box set, limited to 1000 copies worldwide.

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                                              CD Box Set Info: Limited to 1500 copies worldwide.

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                                              Conrad Schnitzler

                                              Kollektion 05: Compiled By Thomas Fehlmann

                                              Things come full circle. In 1976 Thomas Fehlmann arrives in Hamburg to study art at the HfBK. In 1979 he attends a guest lecture by Conrad Schnitzler, who demonstrates to students how the 'extended definition of art' established by Joseph Beuys can be applied to music. This proves to be a crucial element in Fehlmann's decision to become a musician. And now, over 35 years later, he has compiled Bureau B’s fifth collection: 16 pieces from the early 1980s by the man who broadened his horizons, Conrad Schnitzler. The gateway to Schnitzler's sonic cosmos has been flung wide open.

                                              Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. Thomas Fehlmann rose to prominence in the seminal band Palais Schaumburg with Holger Hiller. Their debut album in 1981 was a milestone in German post-punk music. In 1988 Fehlmann founded the Teutonic Beats label and in 1990 he became a member of The Orb. He has played an important role in Berlin's electronic and club scenes ever since, as a musician, producer, remixer and DJ.

                                              Thomas Fehlmann on this Kollektion: "So the question is, are we talking about a 'mix' or what is the most accurate way to define this kind of compilation? If 'mix' overreaches slightly, the fact remains that I have strung together various pieces from Conrad Schnitzler's white period - the CON series - in a seamless arrangement which creates its own state of dramatic tension. The tracks retain their original form and tempo. This is not a study in montage. I have restricted myself to picking the right moment to move from one piece to the next, cross-fading. Okay, I did edit one track. Mixing implies a deeper incursion into the source material, dismantling and reconstructing it in new combinations. I would have found that too crude a method when each individual piece carries its own unequivocal message. The sound is the sound of Conrad Schnitzler. I was looking for a form which would condense Conrad Schnitzler's versatility, his inventiveness and wit into a single journey. The new running order adds a certain friction to the aura of each as new connections are made. My choices were musical, not chronological, bathing these works from the early 1980s in new sensuous light. It is quite remarkable to see how intensely the sparks still fly. Preparing this collection closes an elementary circle in my life, without which I may have followed a completely different path."

                                              Gut Und Irmler / Moebius Story Leidecker

                                              Split EP

                                                THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                All previously unreleased material. Outtakes from the recording sessions. A twelve minutes hypnotic masterpiece from Gudrun Gut (Malaria!) and Hans-Joachim Irmler (Faust) plus two outtakes tracks from Dieter Moebius (Harmonia, Cluster), Tim Story and Jon Leidecker


                                                Kollektion 02: Roedelius Compiled By Lloyd Cole

                                                British songwriter Lloyd Cole has long since been a fan of Hans-Joachim Roedelius and Cluster. For convincing evidence, one need look no further than his 2001 album 'Plastic Wood', a purely electronic opus which was an unambiguous homage to his musical idols.

                                                In 2013 Cole and Roedelius actually joined forces to release their 'Selected Studies Vol. 1' album (BB 124). Cole has now listened through the Hans-Joachim Roedelius solo archives to present his favourite synthesizer or organ pieces in Burea B's Kollektion series.

                                                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

                                                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.

                                                  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.

                                                  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.


                                                  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


                                                    Roedelius Plays Piano

                                                    In 1985 Hans-Joachim Roedelius was invited by Brian Eno (with whom he worked in the 70's on the Cluster & Eno projects) to play a solo piano show in London. Bureau B have now restored the only recording made of this very special performance, and here it is.

                                                    Breathtakingly beautiful piano from the year 1985 - released for the very first time!

                                                    In 1985, Hans-Joachim Roedelius was still perceived by the music community as an electronic artist. Yet ever since taking delivery of his Bösendorfer grand piano in 1983, his interest had grown in the most royal of instruments: the piano. Whilst staying with Brian Eno in 1985 (they had collaborated earlier in the seventies), Roedelius composed a wealth of new material on his friend's two grand pianos (or, as Roedelius would say: the music flew to him). He organized a series of concerts to introduce his new musical direction, with the Bloomsbury Theatre in London amongst the venues. Guests included Brian Eno and The Edge, with Roedelius taking the belated opportunity to use the artwork to thank them accordingly for their support. For Roedelius, this London concert remains one of the highlights of his career.

                                                    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.

                                                    Kreidler was formed in Duesseldorf/Germany in 1994. They have remixed artists such as Einstuerzende Neubauten, Depeche Mode and Faust amongst 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.

                                                    Kreidler think in terms of records and in the arithmetic of the great disco albums: NEU! 75, Saint Tropez or Patrick Cowley, examples from the ranks of legendary six-song albums.

                                                    "Tank," relates to the narrative of "Mosaik 2014",(their 2009 album on Kompakt) but in some respects the album recalls their very first effort, "Riva" from 1994, which may lie in the pace of its development, or the fact that they have tried to keep the structure of the pieces simple and direct, used the computer more as a container or a vessel and less as an operating room. And of course, the fact that Kreidler has once again become a four-piece band, a band with a clear understanding of roles: a drummer, a bassist who can also reach for the guitar, a keyboard player and a man for the electronic.

                                                    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.

                                                      Originally released in 1971 on Philips, reissued later (with a different cover and different running order) on Sky. On Bureau B for the first time with the original running order and original Philips cover.

                                                      The band: founded in 1971 by Hans-Joachim Roedelius and Dieter Moebius, both key figures in the German experimental scene for electronic and ambient music.

                                                      The music: abstract, meandering streams of sound and noise. Epochal, experimental electronics - "Cluster 71" was the duo's debut album. According to The Wire "Cluster 71" is one of the 'One Hundred Records That Set The World On Fire'. Very few albums from Germany can lay claim to this honour. "Cluster 71" is a monster: the debut work from the year 1971 (actually just called Cluster) contains a mere three tracks (untitled) and is quite an ordeal for untrained ears - back then, at least. Yet the album pointed the way forward like no other electronic opus.

                                                      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.

                                                      The musician: Hans-Joachim Roedelius, born 1934; first release in 1969 with Kluster (with Dieter Moebius and Konrad Schnitzler). Active ever since as a solo artist and in various collaborations (with D. Moebius/Cluster, with Moebius and Michael Rother/Harmonia, with Brian Eno, to name just a few). One of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music.
                                                      The music: easy, quiet analog-electronic music miniatures.
                                                      "Wenn Der Südwind Weht (When The South Wind Is Blowing)" (1981) was his 7th solo album.

                                                      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)

                                                      Originally recorded and released in 1977, this pioneer ambient music album brought together several legends of progressive electronic music: Brian Eno, solo artist and collaborator with David Bowie, Robert Fripp, and Roxy Music; Dieter Moebius and Hans-Joachim Roedelius, both of whom had made dozens of ground-breaking recordings throughout the 70s and Michael Rother, of the hugely influential krautrock band Neu!. This album was the first of several celebrated collaborations between these artists, whose influence looms over many current artists such as Moby, Radiohead, Aphex Twin, Massive Attack, and Tortoise.

                                                      Classic Krautrock reissue, originally released in 1979. Cluster are one of the most important protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the Krautrock universe. There is some truth in all of these ideas. Although Cluster and 'rock music' are seldom mentioned in the same breath, their early works in particular are marked by a lack of structure and futuristic, cold soundscapes typical of the Krautrock variation known as 'Kosmische'. "Großes Wasser" was cluster's fifth album as a duo. New technology was deployed with an exactness designed to refine their (by this time – these recordings are from 1978) sophisticated and fully developed musical ideas. More than ever before in Cluster's history, acoustic elements can be heard, with the dulcet tones of the Paragon's Steinway grand piano taking centre stage. Electric bass, guitar, percussion and voice are all embraced. Consequently, "Großes Wasser" is anything but a solely electronic album. It is, however, one of those rare LPs, whose musical substance transcends its own age, still not sounding outdated. This is what really makes it so special.

                                                      "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.

                                                      FORMAT INFORMATION

                                                      CD Info: The CD features 6 additional tracks: three of the new tracks are remixes of material from the original recording while three others are newly released.

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