fusetron

recent arrivals/ news/ everything/ list of labels/ list of artists/ specials/ second-hand/ contact


by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label  

Artist: 39 CLOCKS
Title: Pain It Dark
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"The Bureau B label reissues the first album by Hannover, Germany duo 39 Clocks, originally released in 1981 by No Fun Records. Many a wild tale has enriched the history of 39 Clocks. For example, the time they went on stage with vacuum cleaners and circular saws instead of guitars, the LSD inside their heads having erased all memory of how to play their songs. Or the time when they were expelled from the Documenta, because Joseph Beuys was aggravated by their music. Then there was the angry member of the audience who attacked one of the band members with a knife on stage. Not forgetting the concert in a cavernous aircraft hangar where the amps were turned up so loud that by the end of the show, not a single spectator was left. Sounds music magazine duly confirmed it the "Concert of the Month." The great thing is that every one of these stories is true. Christian Henjes (aka C.H. 39) and Jürgen Gleue (aka J.G. 39) as 39 Clocks were one of the most provocative bands Germany has ever produced; pop scholar Diedrich Diederichsen described them as the best German band of the 80s. The Clocks took shape in 1979, turning their backs on punk and inventing "Psycho Beat," the self-styled counterpoint to the burgeoning German new wave scene, the NDW. Their music can be seen as a futuristic, definitively urban, German form of U.S. 60s garage punk, with a referential nod to New Yorks Suicide and The Velvet Underground -- sparse and gritty garage chord progressions, hypnotic rhythms (invariably emanating from the beatbox) and deadpan English lyrics delivered with the heaviest of German accents. The 39 Clocks pushed back the borders of experimentation with their barely-tolerable live improvisation and atonal meanderings, lower than lo-fi, with a tinny beatbox that tested the resilience of their listeners to the full. Despite some shaky success, geographical and mental shifts brought about their eventual split in 1983. This CD reissue contains a previously-unreleased bonus track and a 12-page booklet illustrated with a wealth of rare photos featuring liner notes by ZickZack record label founder Alfred Hilsberg." -Bureau B

Artist: ANDRIESSEN, JURRIAAN
Title: The Awakening Dream
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present a reissue of Jurriaan Andriessens The Awakening Dream, originally released in 1977. Jurriaan Andriessen (1925-1996) was a Dutch composer. Although he was actually at home in classical music, he recorded three synthesizer albums in the late 1970s, the first of which, The Awakening Dream, is an outstanding excursion into experimental ambient and minimal music. Andriessen himself, 52 years of age at the time, called it a "trance symphony". The music - perhaps surprisingly for a contemporary classical composer - is less in the tradition of his peers such as Pierre Boulez or Karlheinz Stockhausen and more in tune with the electronic sounds of the 70s emanating from Berlin, Düsseldorf, or Forst, the likes of Cluster, early Kraftwerk, and Tangerine Dream, in places echoing Conrad Schnitzler. Andriessen was familiar with the work of these artists, but was probably more influenced by minimalist composers like Philip Glass or synthesizer pioneer Walter Carlos whom he admired. The entire album is played on a Minimoog Model D, a Fender Rhodes piano, a Hohner Clavinet, and a Philicorda organ. It was recorded sound on sound, before the 8-track machine entered the studio, using two Revox A77 tape recorders. Andriessen studied in Paris with Olivier Messiaen and in the USA with Serge Koussevitsky and Aaron Copland. Back in Holland he worked for radio, television and theatre. His compositions for state ceremonies such as the coronation of Queen Beatrix and the annual "Opening of Parliament" won him acclaim and he also wrote the music for the Oscar winning film The Assault (1986). Andriessen started to experiment with synthesizers on new compositions in the early 1970s. In 1973, he wrote music for Georg Büchners play Leonce And Lena and performed it on the ARP 2500 synthesizer. Andriessen was more interested in the challenge of creating new, previously unheard sounds than he was in imitating existing instruments. He strived to invent a novel, unique musical universe. Later he worked mainly with a Minimoog Model D, experimenting and recording in the Dream Studio, the home studio he built with his sons Gijs and Nils in The Hague. As a composer, Jurriaan was always ahead of his time. He loved research and enjoyed using uncommon or newly invented instruments in his compositions, often in unconventional formations. His last work, Jeux Des Vents, appeared in 1996. He died later the same year in The Hague." - Bureau B.

Artist: BANABILA, MICHEL
Title: Early Works: Things Popping Up from the Past
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Numerous threads run through the music of sound artist, composer, and producer Michel Banabila (born 1961), whose contemporary work ranges from adventurous electronic cross-breeding of chamber instrumentation through industrial rhythmic sampling and outwardbound modular synthesis to deeply elegiac drones. This set collects the Dutch artists instrumental 1980s work -- beautiful minimal loop-based electronica, classical-influenced pieces, and ambient drone music -- documenting his early years with material originally released as cassettes, vinyl EPs, and limited CDs. Banabilas piano echoes with a disarming simplicity, its atmospheric gestures bringing to mind the proto-minimalism of Erik Satie. The melody could easily be an additional hundred years old -- except for the fact that the refined patterning is something that likely only could have been pursued in light of the music of Michael Nyman and Philip Glass. The equipment on which this music was made, notably an early sampler, was limited in various ways, key among them the relatively circumspect set of capabilities, especially in terms of memory storage, and the lack of received performance techniques. The equipment was simple and it was new, and neither factor limited Banabilas ambition; on the contrary, the tools concentrated his imagination. If the classical pieces represent the Old World as framed by the new, then the more recognizably "electronic" work here is likewise most at home in a fictional place, an idealized zone. That zone is a quiet neighborhood in the Fourth World, to borrow Jon Hassells terminology, one in which digital tools render something that is, for all its technological dependency, ultimately a form of folk music -- an otherworldly folk music for another time. Fidgety percussion plays amid a fierce but restrained guitar line (there are echoes of Laurie Anderson and Adrian Belew). An ambiguous and elongated drone, thick with subliminal activity, beautiful in its toxic anxiety, suggests dire activity on the horizon. And yet the horizon wasnt dire. Quite the contrary; what was ahead for Banabila was a long string of releases, a healthy and well-documented career in which so many of these individual threads have been provided time and space to have entire records dedicated to their pursuit. This album of archival works documents the continuity inherent in Banabilas music. It is a map in musical form, tracing a path that crisscrosses back and forth between the Old World and the Next." - Bureau B.

Artist: BAUMANN, PETER
Title: Machines of Desire
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $24.00
LP version. Includes CD. "In October 2014 an idea suddenly came to mind. Although I had spent much of my life performing, recording and producing music, my attention over the immediately preceding years had been focused on the philosophy and psychology of human nature. It was a rewarding exploration, but I missed being more creative -- suddenly I felt the urge to play music again. I built a recording studio in my basement and began writing material for the first time in a long while. In November I called Edgar Froese and we met in early January 2015 in Austria. It was an extraordinary encounter and it seemed like it would lead to a renewed collaboration after several decades. As many of you now know Edgar passed away on January 20th 2015, I miss him dearly. Machines of Desire is filled with many influences, not least of them, my time with Tangerine Dream. Recording this album has been a very rich experience that fulfilled my creative desires, with more to come. The title, Machines of Desire, reflects my belief that as human beings were driven relentlessly by our deepest desires: the desire to experience life and love, to be heard and seen, to connect with others, to be safe, to find meaning and purpose . . . and countless more. We find ourselves in the drama of everyday life with uncertainty at every step, with fear of loss and existential loneliness, and only occasionally interrupted by the fundamental joy of being alive." - Peter Baumann, February 2016.

Artist: BAUMANN, PETER
Title: Romance 76
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present a reissue of Peter Baumanns solo debut album Romance 76, originally released in 1976. 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 a profound impact on electronic music. 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. Baumanns positive aura and eagerness to experiment galvanized the bands music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts. After five years of chart appearances, extensive touring and several albums, Baumann initiated his solo career with Romance 76. "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 isnt quite so simple." 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. Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record Romance 76. The influence of Tangerine Dream can clearly be heard on Romance 76, although the arrangements are comparatively minimalist. 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 can be detected on Romance 76, for example, along with a mellotron. The minimal compositions 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, theres enough there already. " At which point Baumann decided to look at the tracks in question as finished. This reissue includes extensive liner notes and rare photographs." - Bureau B.

Artist: BAUMANN, PETER
Title: Trans Harmonic Nights
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present a reissue of Peter Baumanns second solo album Trans Harmonic Nights, originally released in 1979. 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 a profound impact on electronic music. Trans Harmonic Nights sees Baumann continue to break free from the gravitational pull of Tangerine Dream. Hans-Joachim Roedelius was recording the Jardin Au Fou album (BB 023CD/LP) 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 exhilaratingly 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. 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 Machines Of Desire (BB 234CD/LP)." - Bureau B.

Artist: BAUMANN/KOEK
Title: s/t
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria, Germany. It was mixed in Conny Planks studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School; layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Eastern elements or hints thereof add a particular charm to Baumann/Koek, reissued here for the first time. Rumors persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. But in actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS Records cover artist), born in Kempten in 1950, and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. In their mid-20s, the pair made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. They purchased a secondhand ARP 2600, began experimenting, and realized that they needed more gear. Before long they had added an ARP sequencer, a Solina String keyboard, and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four-track recorder and were ready to commit their music to tape, before going to the expense of booking Conny Planks studio for the mix. They pressed up 1000 LPs and paid the production costs themselves. The album was well-received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution, but unfortunately went bankrupt shortly afterward. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School, with a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality, which saw Koek consciously introduce just a hint of Eastern flavor. If Baumann and Koek considered their "modest" equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity that draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze, et al." - Bureau B.

Artist: BAUMANN/KOEK
Title: s/t
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria, Germany. It was mixed in Conny Planks studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School; layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Eastern elements or hints thereof add a particular charm to Baumann/Koek, reissued here for the first time. Rumors persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. But in actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS Records cover artist), born in Kempten in 1950, and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. In their mid-20s, the pair made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. They purchased a secondhand ARP 2600, began experimenting, and realized that they needed more gear. Before long they had added an ARP sequencer, a Solina String keyboard, and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four-track recorder and were ready to commit their music to tape, before going to the expense of booking Conny Planks studio for the mix. They pressed up 1000 LPs and paid the production costs themselves. The album was well-received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution, but unfortunately went bankrupt shortly afterward. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School, with a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality, which saw Koek consciously introduce just a hint of Eastern flavor. If Baumann and Koek considered their "modest" equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity that draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze, et al." - Bureau B.

Artist: BUNDT, MICHAEL
Title: Electri City
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present a reissue of Michael Bundts Electri City, originally released in 1980. 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, releasing three albums which saw him explore the vast potential of electronic music. Delightfully varied and typical of his willingness to experiment, his music orbits around krautrock, Berlin School electronica, space-futurism and synth pop. Electri City, his last album, was created in Bundts own studio using a PPG synthesizer and a Teac four-track tape recorder. He worked on the mixes with a Revox tape machine, cutting and splicing by hand. Whereas he had enlisted guest musicians on the predecessor Neon (1979), this time around he did everything himself, except for two tracks which featured keyboarder Steve Robison (Reiner Geyer) who had played with Bundt in the krautrock band Nine Days Wonder. The resulting LP is replete with experimental electronic music, psychedelic in places. Music which leaves the Krautrock of Neon far behind. Electri City is like a science fiction story: inquisitive, playful, energetic, willing to take the fantastic on board. Step sequencer miniatures flow easily through the music as it conjures up electrifying escapades of synth FX and distorted field recording fragments, laced with melodies heavy on portamento - all coming together in a complex, expressive musical structure that would not be out of place in a Captain Future film. Michael Bundt dedicated Electri City to the fictitious character Kilgore Trout who was created by the author Kurt Vonnegut. Trout appears in a number of Vonneguts novels, usually described as an unsuccessful science fiction writer whose stories at best make it into pulp fiction comic books or the pages of mens magazines. Synthesizer music at that time was generally considered suspect, purportedly trivial, in contrast to the pure playing techniques so freely exhibited in progressive rock. Perhaps Bundt felt that this mirrored the fate of Trouts eminently readable works, Vonneguts intradiegetic stories. But Michael Bundt was not going on the defensive with Electri City having already offered proof enough of his virtuosity. Michael Bundt cast aside his instruments and stepped away from krautrock, purposefully striving for a purely synthetic analog sound." - Bureau B.

Artist: CIRCLES
Title: Structures
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Latecomers to the krautrock party, Circles created a manifesto of frenzied inertia in the late 1980s, swimming in the same gene pool as Cluster and Popol Vuh. Ambient music for the end of time does not get any more authentic than this. The Structures album is a time capsule unlocked, containing previously unreleased recordings from 1985 to 1989. Music that blends the extremes of end-times foreboding and drifting lightness to beguiling effect. Music that succeeds in sounding more contemporary in 2016 that it did when it was made. Its time has come. Mike Bohrmann and Dierk Leiterts duo first saw the light of day in 1983. Krautrocks twilight phase flickered with a few final successes before sliding into obscurity. For a relatively unknown project like Circles, finding a distributor was virtually impossible, in spite of all the time and effort they had invested in their third LP. "We had already pressed up the album and we didnt want to bin it," explains Bohrmann. "So Dierk simply painted roughly 100 white sleeves and we left the other 400 covers blank. Then we visited all the record shops in the Rhine-Main region and gave the LPs away." Collectors are likely to tear their hair out just thinking about the prices such a krautrock rarity can fetch nowadays. With little prospect of success, further recordings disappeared into the cupboard, unreleased -- until now. The shining treasure of Structures has been opened up and dusted off. Right from the start, the first song decelerates ceremoniously into tones that resound for minutes on end. Guitar figures exude a lightness as they complement and carry the track. Sweeping variations are rare and excursions into harmony even rarer, yet everything connects in a perfectly balanced arc of tension. Each of the following tracks has a magic all its own. Electronic keyboards and guitars are the dominant sound sources. One can hear a Korg Trident, a much-prized analog synthesizer noted for its string and brass section; "for the warm, deep layers and harmonies in the upper ranges and bass," recalls Bohrmann. They also used a monophonic analog synthesizer, the Moog Source -- a classic of space-age industrial design considered by some to be the most beautiful synth ever built.” - Bureau B.

Artist: CLUSTER
Title: 1971-1981
Format: 9 CD Box
Label: Bureau B
Country: Germany
Price: $116.00
"Clusters 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 Brian Eno. Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro, and even synthpop. Some call Clusters music avant-garde, others krautrock or kosmische musik. Few would dispute their immense influence, despite their relative lack of commercial success. Hence their first album, as a microcosm of their entire oeuvre, made The Wires 1998 list "100 Records That Set the World on Fire (When No One Was Listening)." This box set contains all eight of the albums that represent Clusters main phase, plus a previously unreleased album of two live recordings from 1972 and 1977. All of the albums have been remastered by Willem Makkee. Includes booklet with essays on each album, rare photos, and an exclusive text on the evolution and significance of the band by Asmus Tietchens, excerpted here: "Cacophonous noise in the 1970s and 1980s masked the subtlety of Cluster aesthetics, diminishing their force of impact. Only since the 1990s, and all the more so today, have Cluster been identified and celebrated as pioneers. The somewhat hackneyed “avant-garde” tag really amounts to nothing more than being ahead of ones time. . . . Now, twenty, thirty years later, with so many new aural experiences on offer, listening habits have changed to such a great extent that we are better placed to assess Clusters importance, their influence on subsequent generations of musicians. . . . The eight (official) Cluster albums presented here trace the groups arc of development over a period of around ten years. Not a particularly extensive oeuvre compared to many of their peers, but prolificacy was never a feature of Clusters constitution. They only released a new album when they felt that they had taken a significant step forwards on their musical trajectory -- which goes some way to explaining how varied and different their LPs were. Cluster were no pedagogues, but their indirect influence on musicians and, more to the point, on listeners, resonates until today. Can a legacy be any more alive?" - Bureau B. Edition of 1500.

Artist: CLUSTER
Title: 1971-1981
Format: 9 LP Box
Label: Bureau B
Country: Germany
Price: $188.00
“Edition of 1000. Clusters 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 Brian Eno. Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro, and even synthpop. Some call Clusters music avant-garde, others krautrock or kosmische musik. Few would dispute their immense influence, despite their relative lack of commercial success. Hence their first album, as a microcosm of their entire oeuvre, made The Wires 1998 list "100 Records That Set the World on Fire (When No One Was Listening)." This box set contains all eight of the albums that represent Clusters main phase, plus a previously unreleased album of two live recordings from 1972 and 1977. All of the albums have been remastered by Willem Makkee. Includes booklet with essays on each album, rare photos, and an exclusive text on the evolution and significance of the band by Asmus Tietchens, excerpted here: "Cacophonous noise in the 1970s and 1980s masked the subtlety of Cluster aesthetics, diminishing their force of impact. Only since the 1990s, and all the more so today, have Cluster been identified and celebrated as pioneers. The somewhat hackneyed avant-garde tag really amounts to nothing more than being ahead of ones time. . . . Now, twenty, thirty years later, with so many new aural experiences on offer, listening habits have changed to such a great extent that we are better placed to assess Clusters importance, their influence on subsequent generations of musicians. . . . The eight (official) Cluster albums presented here trace the groups arc of development over a period of around ten years. Not a particularly extensive oeuvre compared to many of their peers, but prolificacy was never a feature of Clusters constitution. They only released a new album when they felt that they had taken a significant step forwards on their musical trajectory -- which goes some way to explaining how varied and different their LPs were. Cluster were no pedagogues, but their indirect influence on musicians and, more to the point, on listeners, resonates until today. Can a legacy be any more alive?”” - Bureau B.

Artist: CLUSTER
Title: Apropos Cluster
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Apropos Cluster (1990) was released in Coralville, Iowa, in deepest provincial America. Youthful enthusiast Russ Curry (sic) set up the Curious Music label on his own initiative to release this very album. Emboldened by the spirit of the independent movement, he paid for manufacturing himself and took care of CD distribution, as well as doing his best to ensure that a few copies made their way to Europe. In common with so many independent label operations, Russ Curry lacked the financial clout to market Apropos Cluster effectively. PR and advertising were out of the question. Hence the album flew predominantly under the radar, reaching potential supporters more or less by chance. Or not at all, which was a crying shame, given that Cluster had risen like a phoenix from the ashes, picking up the creative thread where they had left off and taking it to an ingenious new level. Nobody would have guessed that a decade had passed since their last LP Curiosum. Apropos Cluster saw the duo arrive in the digital world. Dieter Moebius and Hans-Joachim Roedelius had indeed used digital sounds and corresponding recording technology on their solo albums in the 80s, so they were no strangers to the latest in electronic techniques. Apropos Cluster was recorded in Roedelius home studio in Austria; Cluster combined samplers, grand piano and analog synthesizers as only they knew how. The listener is invited into the legendary Cluster cosmos, a considerably more complex and fantastic place than it was 10 years earlier. Horizons appear more distant, paths more labyrinthine. Moebius and Roedelius paid no heed to contemporary trends in electronic music, instead continuing to trace their own trajectory in a fathomless, surreal world for which they alone possessed the coordinates. Sonic and musical details abound to an almost overwhelming degree. One moment up close, the next far away, something new appears in the distance." -- Asmus Tietchens.

Artist: CLUSTER
Title: Cluster 71
Format: CD
Label: Bureau B
Country: Germany
Price: $16.00
"Originally released on the Philips label in 1971, Bureau B reissues Clusters eponymous debut full-length 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 honor. This album is a mere three untitled tracks and was quite an ordeal for untrained ears at the time of its release, yet the album pointed the way forward like no other electronic opus. Clusters previous incarnation was a trio named Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from their third member, Konrad Schnitzler, in 1970. The following year, as well as playing live, they recorded their first album, Cluster 71, in publisher Ralf Arnies Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until his death in 1987. Early Cluster music was new -- new in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duos utter renunciation of conventional harmony and rhythm, their embracing of near total aural abstraction, confident use of noise, rigorous live electronic improvisation and a positive mind-set tuned to winning rather than losing -- these were all factors in Clusters innovative trailblazing of 1971. For want of a better category, Cluster 71 was classified rather inappropriately and incorrectly as "cosmic." Few recognized Cluster for what it was -- the synthesis of pop music stripped of embarrassing glamour and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster 71, with no beginning and no end. Clusters music is free and open in all directions. There are sounds, noises and structures to be heard on this album which would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future with Cluster 71. Liner notes by Asmus Tietchens." -Bureau B.

Artist: CLUSTER
Title: Curiosum
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version with color inner sleeve and liner notes by Asmus Tietchens. Originally released on Sky Records in 1981, Bureau B reissues Clusters Curiosum -- the sixth duo collaboration between Dieter Moebius and Hans-Joachim Roedelius. Curiosum was to mark a departure to pastures new. Little did they know that this would be their last release for the next nine years. Curiosum was launched into an atmosphere of musical turbulence. Electronic sounds had become commonplace in pop music and the voice of Cluster could barely be heard through the noise of a new generation of music. Curiosum is a decidedly tranquil, almost melancholy album -- quiet being the operative word, as Cluster slipped out of the limelight. It was recorded in rudimentary fashion in Austria, now home to Roedelius. This is Cluster music at its most serene, a sense of profound humility running through the seven tracks of the LP. It says a lot about the state of mind of the two musicians, allied to the fact that this was the first time they chose to mix outside of Conny Planks studio where, in the past, the finishing touches had been applied. Roedelius and Moebius laid their cards on the table for all to see, offering up Curiosum as an honest, unadorned selection of tracks, free of artifice and preconception. The album represented a return to the virtues of their early work (when Cluster was written with a "K"), random and spontaneous. Curiosum is nothing if not a curiosity, wholly resistant to the cacophonous zeitgeist of the early 80s, stripped down and keenly focused on perfect shapes. This is Clusters swan-song to the past." - Bureau B.

Artist: CLUSTER
Title: Grosses Wasser
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version. Formed in Germany in 1971 when Hans-Joachim Roedelius and Dieter Moebius left Conrad Schnitzlers group Kluster, Cluster can be counted among the most important protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, while to others they are firmly embedded in the Krautrock universe. There is some truth in all of these notions. 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." Recorded and released in 1979, Grosses Wasser was Clusters fifth album as a duo. The cover art is the first indication of minimalist tendencies, reflecting the concentration, transparency and maturity of the content, almost like chamber music. While nothing is left to chance, each of the six Cluster pieces effervesces with a certain joie de vivre, providing ample scope for artistic spontaneity. Grosses Wasser was recorded at Paragon Studio, which had been set up by Peter Baumann (Tangerine Dream) not long before. Baumann had set aside plenty of time for the recording sessions, enabling Cluster to experiment with sequencers for the first time and explore some of the most up-to-date (for that period) studio gadgets on offer. Moebius and Roedelius made intelligent, measured use of the latest paraphernalia without being overwhelmed by it. New technology was deployed with an exactness designed to refine their sophisticated and fully-developed musical ideas. More than ever before in Clusters history, acoustic elements can be heard, with the dulcet tones of Paragons Steinway grand piano taking center 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 age, never sounding outdated. Grosses Wasser is the first in a series of 23 albums to be reissued by Bureau B, comprehensively documenting the superb electronic/ambient/Krautrock history of the Hamburg label, Sky Records, from whom the material has been licensed. Cluster (in their various guises) will feature heavily in the series (solo albums as well as collaborations with Brian Eno, Conny Plank, Gerd Beerbohm, Mani Neumeier, etc.). Printed inner sleeve includes liner notes by Asmus Tietchens." -Bureau B

Artist: CLUSTER
Title: Japan Live
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"After Curiosum (BB 038CD/LP, 1981), the last Cluster album to be released on Sky, Roedelius and Moebius turned their attention to solo work. It was not until the early 1990s that Cluster returned to the electronic music stage with Apropos Cluster (BB 171CD/LP, 1990) and One Hour (BB 172CD/LP, 1994). The duo also took to the road for live shows in Germany and Europe, followed by tours across the USA and Japan. Some of these concerts were recorded in digital quality and offer compelling evidence of just how dramatically Clusters music had evolved -- to what degree Moebius and Roedelius had found serenity as they matured. The tracks collected here are gleaned from live performances in Osaka and Tokyo. In technical terms, and all the more so musically, the recordings are on par with meticulously prepared studio productions. The material thus provides an ideal opportunity to compare Cluster music of the past and the present (1996). Cluster had, of course, gone digital. Few analog sources made the cut, with keyboard samplers now their instrument of choice. It stands to reason that what amounted to an extrinsic decision did nothing to alter the style of such sophisticated artistic personalities, instead merely widening the range of creative possibilities available to them. Cluster were indeed unfazed by the multiple sonic sources now in their grasp. They avoided wallowing in endless narcissism, concentrating instead on relatively few elements of sound and form. Particularly in a live context, this led to immensely serene and engaging music. Tracing the arc of suspense in these improvisations, the equanimity and nuance that Roedelius and Moebius bring to their music becomes apparent, inciting a positive sense of excitement in the conscientious listener. This release consists of tracks from Captain Trip Records 1997 CD Japan 1996 Live reworked into a new version and presented on vinyl for the first time, and on CD. Includes liner notes by Asmus Tietchens and new artwork." - Bureau B.

Artist: CLUSTER
Title: Japan Live
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version on 180 gram vinyl. After Curiosum (BB 038CD/LP, 1981), the last Cluster album to be released on Sky, Roedelius and Moebius turned their attention to solo work. It was not until the early 1990s that Cluster returned to the electronic music stage with Apropos Cluster (BB 171CD/LP, 1990) and One Hour (BB 172CD/LP, 1994). The duo also took to the road for live shows in Germany and Europe, followed by tours across the USA and Japan. Some of these concerts were recorded in digital quality and offer compelling evidence of just how dramatically Clusters music had evolved -- to what degree Moebius and Roedelius had found serenity as they matured. The tracks collected here are gleaned from live performances in Osaka and Tokyo. In technical terms, and all the more so musically, the recordings are on par with meticulously prepared studio productions. The material thus provides an ideal opportunity to compare Cluster music of the past and the present (1996). Cluster had, of course, gone digital. Few analog sources made the cut, with keyboard samplers now their instrument of choice. It stands to reason that what amounted to an extrinsic decision did nothing to alter the style of such sophisticated artistic personalities, instead merely widening the range of creative possibilities available to them. Cluster were indeed unfazed by the multiple sonic sources now in their grasp. They avoided wallowing in endless narcissism, concentrating instead on relatively few elements of sound and form. Particularly in a live context, this led to immensely serene and engaging music. Tracing the arc of suspense in these improvisations, the equanimity and nuance that Roedelius and Moebius bring to their music becomes apparent, inciting a positive sense of excitement in the conscientious listener. This release consists of tracks from Captain Trip Records 1997 CD Japan 1996 Live reworked into a new version and presented on vinyl for the first time. Includes liner notes by Asmus Tietchens and new artwork." - Bureau B.

Artist: CLUSTER
Title: Kollektion 06: Cluster (1971-1981) Compiled and Assembled by John McEntire
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Limited edition: white vinyl & adult colouring cover." Clusters 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 synth-pop. Some call Clusters music avant-garde, others krautrock or kosmische. 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. On Kollektion 06, John McEntire provides a collection of tracks spanning Clusters first eight studio albums. John McEntire is a drummer/percussionist and recording engineer/producer. He is a founding and current member of Tortoise and The Sea & Cake; former contributing/touring member of Red Krayola and Gastr Del Sol. He has been the owner/operator of Soma Electronic Music Studios in Chicago, IL since 1995. Asmus Tietchens on Cluster: "Clusters role in the development of new German electronic music went unnoticed for a long while. Cacophonous noise in the 1970s and 1980s masked the subtlety of Cluster aesthetics, diminishing their force of impact. Only since the 1990s, and all the more so today, have Cluster been identified and celebrated as pioneers. The somewhat hackneyed avant-garde tag really amounts to nothing more than being ahead of ones time. And those who are ahead of their time often slip out of sight. Now, twenty, thirty years later, with so many new aural experiences on offer, listening habits have changed to such a great extent that we are better placed to assess Clusters importance, their influence on subsequent generations of musicians. It has thus become easier to appreciate and enjoy their music... Cluster were no pedagogues, but their indirect influence on musicians and, more to the point, on listeners, resonates until today. Can a legacy be any more alive?" This collection features tracks from:Cluster 71 (BB 058CD/LP), Cluster II (LR 335LP), Zuckerzeit (LR 333LP), Sowiesoso (BB 039CD/LP), Cluster & Eno (BB 029CD/LP), After The Heat, Grosses Wasser (BB 026CD/LP), and Curiosum (BB 038CD/LP).” - Bureau B.

Artist: CLUSTER
Title: Konzerte 1972/1977
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $23.00
LP version with CD. "The two authorized recordings presented on Konzerte 1972/1977 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 Hamburgs Fabrik venue. Cluster played three gigs in the city in 1971/1972, including the one partially included on 1972s Cluster II (LR 335LP). Cluster shows routinely lasted six hours or more, luring both the band and the audience into a state of intoxication, no doubt acutely enhanced by the intake of certain substances. The buzzwords of the moment were: psychedelic, magical, ritualistic, corresponding more or less to the Dionysian hedonism which pervades certain styles of contemporary music culture today. It is worth noting this context as useful background when listening to the live recordings presented here. In the beginning, Clusters music was rough, brutal, and spontaneous, created with the most rudimentary tools. Unlike many of their colleagues in this pioneering age, Cluster did not use any synthesizers, sequencers, or high-end amps. But this proved to be their strength, rather than a disadvantage. 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. Intuition was the dominant force, the risk of potential failure was readily understood to be as much a part of their vibrant art as success. Perfection had become a concept associated with convention. Indeed, anyone who was lucky enough to witness Cluster play in the 1970s will testify that things sometimes went badly wrong. But mostly they did not, and then the real magic was tangible. A utopian, previously undiscovered world of sound was created in the presence of the beholder. The sound quality of these two documents is average. A successful performance was considered more important than a perfect recording thereof. As listeners, this should be accepted today. Konzerte 1972/1977 provides a short journey into the nascent heart of Clusters creative universe, just after the big bang." - Bureau B.

Artist: CLUSTER
Title: One Hour
Format: LP
Label: Bureau B
Country: Germany
Price: $22.00
180 gram vinyl. "Clusters hiatus between Curiosum (BB 038CD/LP) and Apropos Cluster (BB 171CD/LP) in 1990 lasted for almost 10 years. Roedelius and Moebius spent this time developing their individual musical characteristics in a series of solo albums and collaborations which they released with other musicians. Naturally, they also thoroughly explored newly emerging digital technology. Clusters music evolved substantially through this decade, less so in basic style (color had simply been added to Clusters world), but more in a more mature handling of rhythm, harmony and melody. If Apropos Cluster had been the fulminant reboot, then One Hour four years later already represented a fully-formed progression of the new concept. Roedelius and Moebius stayed true to their spirit of improvisation, playing together with a minimum of prior arrangements. So, in the duos finest tradition, One Hour is the product of two sessions recorded in the studio of musician and sound engineer Eric Spitzer-Marlyn in Austria. Sixty minutes were selected from the most interesting passages and assembled into a coherent, cohesive musical sequence. The askesis in the apparent matter-of-factness and lightness of One Hour is an expression of strict artistic conception. Nothing veers off course, not a single flash of genius is overplayed. Moebius and Roedelius guide their listeners deeper and deeper into the fantastical realm of musical extravaganzas. One image follows the next, disappearing in similarly unhurried fashion to be replaced by another. As placid as One Hour may seem, the album is nothing less than meditative. This is not ambient music. High impressionism would be a more apposite description. Appreciating the fleeting imagery and flow of ideas requires the listeners undivided attention. Using Cluster as acoustic room scent would be a hopeless undertaking. The exquisite particles of sound would dissipate far too quickly and ineffectively." --Asmus Tietchens

Artist: CLUSTER
Title: USA Live
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Bureau B presents Clusters USA Live, a 1996 recording of Clusters first tour of the USA. This release consists of tracks from Purple Pyramids 1997 CD First Encounter Tour 1996, reworked and reselected in collaboration with the musicians and presented on vinyl (for the first time) and on CD. Includes new artwork. "The US recordings are loud and impassioned. Some tracks are really loud, the mood is frankly disquieting. Tonal differences aside, this takes us back to Clusters musical frame of mind in the early 1970s. Given the vast expressive repertoire on which Moebius and Roedelius could draw from almost twenty years of relentless experimentation, perhaps this ought not to surprise us. Furthermore, as artists of the moment, they are able to respond flexibly and immediately to the ambience, the situation, their own condition. Something in the USA was fundamentally different to Japan. On the evidence of the US live recordings we can surmise that the USA tour was anything but introspective. As if Cluster were intent on proving that they were neither purveyors of cozy ambient electronica nor producers of new age muzak. The way they played America was completely unpredictable, sometimes even chaotic. Expansive passages switch abruptly with rhythmic stretches, raw noise erupts in quiet places -- Moebius and Roedelius pull out all the stops. It all amounts to quite an ordeal for the audience, possibly even disappointing one or two listeners in the process. But Clusters music was always multifaceted, so surprises were never far away. The USA live album does not escort the listener to bright, mellifluous swaths, but to rugged, karstic regions, no less a part of Clusters world. It is an uncomfortable album with rough edges. Still, it is a good thing that Moebius and Roedelius used these forceful improvisations to conclude their journey together for the foreseeable future. Cluster bid farewell to their listeners twice in 1996: softly and almost lost in reverie on Japan Live (BB 174CD/LP), then not long afterwards they went out with a bang on First Encounter Tour/USA Live. Once again the two musicians had shared the full spectrum of their artistic visions. Alas, a double goodbye does not make the split any easier. Fast-forwarding into the next millennium, however, we are happy to hear the cry: Cluster ahoy!" --Asmus Tietchens.

Artist: CLUSTER
Title: USA Live
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Bureau B presents Clusters USA Live, a 1996 recording of Clusters first tour of the USA. This release consists of tracks from Purple Pyramids 1997 CD First Encounter Tour 1996, reworked and reselected in collaboration with the musicians and presented on vinyl (for the first time) and on CD. Includes new artwork. "The US recordings are loud and impassioned. Some tracks are really loud, the mood is frankly disquieting. Tonal differences aside, this takes us back to Clusters musical frame of mind in the early 1970s. Given the vast expressive repertoire on which Moebius and Roedelius could draw from almost twenty years of relentless experimentation, perhaps this ought not to surprise us. Furthermore, as artists of the moment, they are able to respond flexibly and immediately to the ambience, the situation, their own condition. Something in the USA was fundamentally different to Japan. On the evidence of the US live recordings we can surmise that the USA tour was anything but introspective. As if Cluster were intent on proving that they were neither purveyors of cozy ambient electronica nor producers of new age muzak. The way they played America was completely unpredictable, sometimes even chaotic. Expansive passages switch abruptly with rhythmic stretches, raw noise erupts in quiet places -- Moebius and Roedelius pull out all the stops. It all amounts to quite an ordeal for the audience, possibly even disappointing one or two listeners in the process. But Clusters music was always multifaceted, so surprises were never far away. The USA live album does not escort the listener to bright, mellifluous swaths, but to rugged, karstic regions, no less a part of Clusters world. It is an uncomfortable album with rough edges. Still, it is a good thing that Moebius and Roedelius used these forceful improvisations to conclude their journey together for the foreseeable future. Cluster bid farewell to their listeners twice in 1996: softly and almost lost in reverie on Japan Live (BB 174CD/LP), then not long afterwards they went out with a bang on First Encounter Tour/USA Live. Once again the two musicians had shared the full spectrum of their artistic visions. Alas, a double goodbye does not make the split any easier. Fast-forwarding into the next millennium, however, we are happy to hear the cry: Cluster ahoy!" - Asmus Tietchens.

Artist: D.A.F.
Title: Produkt Der Deutsch-Amerikanischen Freundschaft
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B reissues the first Deutsch-Amerikanische Freundschaft album, originally released in 1979. True D.A.F. connoisseurs will, of course, be aware of the early phase of the Düsseldorf-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 (hitherto comprising Robert Görl, Kurt Dahlke/Pyrolator, Wolfgang Spelmans and Michael Kemner), before the band discarded the name of YOU and christened themselves Deutsch-Amerikanische Freundschaft. And he was also on board for the first recording sessions at Studio 56 in Mühlheim. Disappointed with the results ("too close to Schlager," the band thought) and "less than happy" with Delgados vocals and lyrics (as Pyrolator, responsible for electronics, noted), the group dispensed with Delgados services. Yet the creative will was undiminished: "We really wanted to make a record. All the Düsseldorf bands -- Male, Mittagspause -- already had an album out, everyone except us," and with the singer now gone, an instrumental album was the only option. In the wake of the studio debacle, the decision was made to take the recording into their own hands. 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 Freundschaft" should certainly be recognized as a pioneering work. Possibly even the first noise-rock album the world had seen or heard. Was the world ready for such brutal, nihilistic sounds in the late 1970s? The world of record companies was not. Unable to find a label, D.A.F. proved to be not only pioneers of noise, but also pioneers of DIY. They found help from the local bank, with Pyrolator putting up his car for credit amounting to 3000 Marks. A logical step, as he was already running a cassette label called Warning Records (later becoming Ata Tak). Produkt Der Deutsch-Amerikanischen Freundschaft was the first LP on the label and was given the catalog number WR 01/LP/1979. Sales were so good that Pyrolator was able to pay back his loan quickly. Housed in a digipak with liner notes, rare photos and memorabilia." - Bureau B.




Artist: D.A.F.
Title: Produkt der Deutsch-Amerikanischen Freundschaft
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
2014 repress. 180 gram vinyl version. "Bureau B reissues the first Deutsch-Amerikanische Freundschaft album, originally released in 1979. True D.A.F. connoisseurs will, of course, be aware of the early phase of the Düsseldorf-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 (hitherto comprising Robert Görl, Kurt Dahlke/Pyrolator, Wolfgang Spelmans and Michael Kemner), before the band discarded the name of YOU and christened themselves Deutsch-Amerikanische Freundschaft. And he was also on board for the first recording sessions at Studio 56 in Mühlheim. Disappointed with the results ("too close to Schlager," the band thought) and "less than happy" with Delgados vocals and lyrics (as Pyrolator, responsible for electronics, noted), the group dispensed with Delgados services. Yet the creative will was undiminished: "We really wanted to make a record. All the Düsseldorf bands -- Male, Mittagspause -- already had an album out, everyone except us," and with the singer now gone, an instrumental album was the only option. In the wake of the studio debacle, the decision was made to take the recording into their own hands. 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 Freundschaft" should certainly be recognized as a pioneering work. Possibly even the first noise-rock album the world had seen or heard. Was the world ready for such brutal, nihilistic sounds in the late 1970s? The world of record companies was not. Unable to find a label, D.A.F. proved to be not only pioneers of noise, but also pioneers of DIY. They found help from the local bank, with Pyrolator putting up his car for credit amounting to 3000 Marks. A logical step, as he was already running a cassette label called Warning Records (later becoming Ata Tak). Produkt Der Deutsch-Amerikanischen Freundschaft was the first LP on the label and was given the catalog number WR 01/LP/1979. Sales were so good that Pyrolator was able to pay back his loan quickly. Printed innersleeve with photos and notes by Carsten Friedrichs. 180 gram." -Bureau B.




Artist: DER PLAN
Title: Die letzte Rache
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Retrospectively, it makes perfect sense thatDer Plan created a soundtrack. For one thing, visuals were almost as important to Der Plan as their music. And if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, Der Plan went further -- with scenery, masks and album covers designed by Moritz R® they invented their own universe. Indeed, the sounds of everyday life woven into Der Plans music contributed to the filmic quality of their sound. Thus Frank Fenstermacher, Moritz R® andPyrolator were not slow in responding to their old friend Rainer Kirbergs request to work on his latest film Die letzte Rache. The director Kirberg, born in 1954, studied film in Düsseldorf. They all knew each other from shared lodgings, political meetings and the local hangout Ratinger Hof. As well as playing his part in the music, Moritz R® also came up with the sets, while Frank Fenstermacher secured a minor role as the inspectors sidekick. But back to the music: Letzte Rache (1983) was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. With the aid of the Emulator 1, Der Plan succeeded in recording something which could also work as a diverting radio drama without moving images. In contrast to the two previous albums Geri Reig and Normalette Surprise (BB 105CD/LP), which defined the Plan sound and virtually did without any musical quotations, echoes of jazz can be heard on Die letzte Rache and, of course, film music. Andreas Dorau weighs in with a bona fide pop hit in the guise of a "Junger Mann." Ah yes, the film itself, what is it actually about? Following the aesthetic tradition of 1920s German Expressionist cinema, Die letzte Rache -- "the last revenge" -- tells the hair-raising tale of a ruler who charges "the worldly" with the task of finding him a successor. The problem is: idiots abound. The worldlys search is fruitless and -- sometimes the most obvious solutions are the most practical -- he decides to seize power himself. At the end of the day: the rulers empire in ruins, the Worldly goes mad, the inspector goes to jail (arrested by his own assistant!), and the ruler is badly injured yet immortal, suffering terrible agonies. Bonus tracks include the six pieces from the film Der Grottenolm." -Bureau B.

Artist: DER PLAN
Title: Geri Reig
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. Geri Reig is Der Plans debut album (originally released in 1980), but not their first release. An EP, recorded with the aid of an Electric Memo dictation preceded Geri Reig. But the band is not very keen on reissuing this early work. Why did they call themselves "Der Plan," actually? "A concept which has something to do with the capacity of people to think and shape their future" as Plan member Moritz Reichelt, alias Moritz R®, once explained. Der Plan at that time comprised Moritz Reichelt, Frank Fenstermacher, Robert Görl and Chrislo Haas. Their music was menacing, fragmented noise rock, still with guitar and drums, but far removed from the typical (rock) music of the period. When Görl and Haas departed (to form DAF), guitars and drums also disappeared from Der Plan. New on the team: Kurt Dahlke alias Pyrolator. This was the line-up which recorded Geri Reig in Reichelts Düsseldorf office with a two-channel tape machine. Geri Reig is a punk album in the truest and best sense. New, threatening and, at the same time, humoros. While other bands of the era stamped with the seal of "punk" played a faster and harder version of 1950s rock and roll or 1960s garage rock, Der Plan, like a handful of contemporaries such as The Residents or Throbbing Gristle, not only rejected traditional song structures but jettisoned the whole instrument list. Thats punk for you! Allied to a deep aversion to rock music and the cliché that goes with it, was the wish to create something of their own. And Geri Reig is certainly idiosyncratic: fragments and songs, raspy and fragile, melodies and interference, ambient sounds up front in the mix. Fine in theory and -- rare though it may be -- excellent in practice. And it just gets better: the album was well-received. Moritz R®: "As if everyone had been waiting for it."" -Bureau B.

Artist: DER PLAN
Title: JaPlan
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Der Plan were invited to Tokyo in 1984 to play six concerts for Seibu, a Japanese department store chain. Seibu were staging a "German Week." But how did they come to choose Der Plan, of all bands? Why not an Oktoberfest combo or the Scorpions? Moritz Reichelt explains: "German New Wave was really popular in Japan. They knew more about it than people here at home. Catalogs and magazines detailed every obscure record and depicted the covers. This particular department store chain was linked to Wave, a record shop and distributor -- and they really knew their stuff." JaPlan documents the set list from these Tokyo shows. Featuring previously-released songs from the Normalette Surprise (BB 105CD/LP) album, the Die letzte Rache soundtrack, and the double single Golden Cheapos, JaPlan also includes rare instrumentals produced for these very concerts, and one of the most famous songs by Der Plan: "Gummitwist." Der Plan and Japan -- a good match, not only phonetically. Reichelt: "Japan had always been one of our strongest territories. Our records were exported there from the very beginning. When I arrived, I understood why. Japanese pop culture is really planesque in a way. Artificiality with a twinkle in the eye. We stepped inside our hotel in 1984 and switched on the television. The first thing we saw was an advert with three dinosaurs singing a song. Pretty much like one of our shows." The reissue is graced with new artwork due to the fact that the Japanese simply adopted the cover of the existing Golden Cheapos EP. The relationship of form and content was thus absent and one significant change was made: the image of a faint square covering the exposed lower body of a lady in the hay was replaced by an opaque black square. A joke at the expense of the censors fell victim to actual censorship. This re-release could be said to correct an optical error in the bands discography. Includes four bonus tracks." -Bureau B.

Artist: DER PLAN
Title: Normalette Surprise
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. 1980 the zeitgeist played into the right hands. And who held the aces? In Bureau Bs game, Moritz R®, Frank Fenstermacher and Pyrolator aka Der Plan. Tired of convention and full of enthusiasm, they encountered an audience who felt just the same. And with record companies too ponderous to sign up Der Plan, the wonderful Ata Tak label was born of necessity. Normalette Surprise is the second album by Der Plan, released in 1981, a good year after their Geri Reig debut. It is immediately recognizable as a Plan album, yet Normalette Surprise does contain a few, well, surprises. The first number, "Leb doch," is a brilliant pop song. One can say many (good) things about Geri Reig, but it does not contain any pop songs. "Leb doch" is built on a captivatingly taut rhythm, sub-cooled vocals and German lyrics. Hang on a minute, taut rhythm, sub-cooled vocals, German lyrics? Yes exactly -- Der Plan drew up the blueprint for what would soon become known as "Neue Deutsche Welle" -- the German New Wave. Although, "blueprint" sounds a little too benign. It was more like a big bang. Moreover, there was something new about it. Or rather, something old. Bizarrely, Der Plan were introduced by their American artist friends, including the controversial elocutionist Boyd Rice, into the amazing world of the German Schlager, a colorful universe of the absurd awaited exploration. "Kleine Schlager-Revue" and "Sie hat mich verlassen" are the clearest indications of this newfound passion on Normalette Surprise. Hence, Normalette Surprise presents the full range of attributes which would define Der Plan and the Ata Tak label: electronics and Schlager, noise and pop. And Der Plans protagonists succeeded -- unlike so many -- in their mission of creating something original, something of their own." -Bureau B.

Artist: DEUTSCHE WERTARBEIT
Title: s/t
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"There are times when the name of a musical project is in perfect harmony with the sounds emanating from it. And there are times when it is not. Take the 1981 album Deutsche Wertarbeit by keyboarder and composer Dorothea Raukes, which is rather an example of the latter. No stomping of military marches, as the title may imply, but six beautiful synthesizer treasures gathered together on the only solo album she would release, artfully unifying the so-called Düsseldorf School (Kraftwerk, etc.), the Berliner School (Tangerine Dream, etc.) and elements of Jean Michel Jarres music with the sounds of the inceptive 1980s. From the hypnotic to the cosmic, sometimes pulsating, sometimes evincing saccharine melancholy. The cool, almost technical artwork does not really fit the warm, sensitive music, either. Dorothea Raukes was not exactly an unknown quantity when the album appeared. She had been playing keyboards and writing for the Düsseldorf rock band Streetmark for years. The group -- as was typical of the period -- operated on democratic principles, which meant that she was never quite able to follow through on her own musical ideas one hundred percent. A solo album, however, would allow her to do just that. One of the reasons why it turned out to be a purely electronic album was Raukes sponsorship deal with Korg, giving her access to the full range of the companys gear. Listening to Deutsche Wertarbeit, those familiar with the history of Streetmark will find themselves reminded of Wolfgang Riechmanns solo LP Wunderbar (BB 027CD/LP), which appeared three years earlier and traced a similar musical pattern. Wolfgang Riechmann himself had been a member of Streetmark not all that long ago. Nonetheless, the two projects were entirely separate and had no immediate influence on each other." - Bureau B.

Artist: DEUTSCHE WERTARBEIT
Title: s/t
Format: LP
Label: Bureau B
Country: Germany
Price: $22.00
"180 gram vinyl. There are times when the name of a musical project is in perfect harmony with the sounds emanating from it. And there are times when it is not. Take the 1981 album Deutsche Wertarbeit by keyboarder and composer Dorothea Raukes, which is rather an example of the latter. No stomping of military marches, as the title may imply, but six beautiful synthesizer treasures gathered together on the only solo album she would release, artfully unifying the so-called Düsseldorf School (Kraftwerk, etc.), the Berliner School (Tangerine Dream, etc.) and elements of Jean Michel Jarres music with the sounds of the inceptive 1980s. From the hypnotic to the cosmic, sometimes pulsating, sometimes evincing saccharine melancholy. The cool, almost technical artwork does not really fit the warm, sensitive music, either. Dorothea Raukes was not exactly an unknown quantity when the album appeared. She had been playing keyboards and writing for the Düsseldorf rock band Streetmark for years. The group -- as was typical of the period -- operated on democratic principles, which meant that she was never quite able to follow through on her own musical ideas one hundred percent. A solo album, however, would allow her to do just that. One of the reasons why it turned out to be a purely electronic album was Raukes sponsorship deal with Korg, giving her access to the full range of the companys gear. Listening to Deutsche Wertarbeit, those familiar with the history of Streetmark will find themselves reminded of Wolfgang Riechmanns solo LP Wunderbar (BB 027CD/LP), which appeared three years earlier and traced a similar musical pattern. Wolfgang Riechmann himself had been a member of Streetmark not all that long ago. Nonetheless, the two projects were entirely separate and had no immediate influence on each other." - Bureau B.

Artist: DIE KRUPPS
Title: Stahlwerkrequiem
Format: LP & CD
Label: Bureau B
Country: Germany
Price: $24.00
“In 1981 the Düsseldorf band Die Krupps(Jürgen Engler, Bernward Malaka, Ralf Dörper) released theStahlwerksynfonie (Steelworks Symphony), a near-30-minute musical monolith of metal and guitar sounds with scattergun saxophone and shouts, held together by a monotonic bass line and stoic beat. TheStahlwerksynfonie proved a worldwide sensation as a nucleus of EBM and industrial rock. It stood as a direct descendent of Clusters early works, although Die Krupps mastermind Jürgen Engler was as yet unfamiliar with the output of his purported antecedents. The Stahlwerkrequiem is a 2016 version of this landmark work, recorded with Englers kindred spirits Mani Neumeier (Guru Guru), Jean-Hervé Peron and Zappi Diermaier(Faust), Pyrolator (Der Plan), and US post-rock musician Scott Telles. Jürgen Engler picks up the tale: "Listening to Lou Reeds Metal Machine Music almost every day, the Stahlwerksinfonie turned out as unconventional, radical and dark as intended, with the shows usually ending in total chaos. Mission accomplished. As I started digging deeper into the past of early 70s German Underground music in the late 80s, I discovered that there were bands who had also tried to break away from the musical past and explore the possibilities of ambience and noise, like Cluster. Their song “Live in der Fabrik” from the 1972 album Cluster II can be called the forerunner of what was to become Industrial in the early 1980s. Had I been aware of the track in 1980, I would have probably stepped back from the idea of doing the Stahlwerksinfonie. Fortunately I did not. Many years later, in the meantime having produced records and become friends with some of the original Krautrock artists, like Mani Neumeier of Guru Guru, Jean-Hervé Peron and Zappi Diermaier of Faust,Dieter Moebius of Cluster, Chris Karrer of Amon Düül, the idea grew on me to record an all new version of the Stahlwerksinfonie. What could be more inspiring than bringing together some of those free spirited minds? . . . The sessions had the same intensity as the recording session at Cans Inner Space studio in 1981, where the original Stahlwerksinfoniewas recorded. After the tracks were mixed, we brainstormed over who would be the perfect addition to the project. We immediately thought of Jean- Hervé and Zappi of Faust, and also of an old friend from early Düsseldorf Punk days, Pyrolator. He would be the missing link between early avant-garde and the later electronic Die Krupps. Full circle." - Bureau B.

Artist: DIE PARTEI
Title: La Freiheit des Geistes
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
“In 1981 Tom Dokoupil and Walter Dahn, two young and wild protagonists of the German underground, got together to create a new music project entitledDie Partei. Using his Siluetes 61 alias, Dokoupil was already known as something of a musical eccentric and as a member of The Wirtschaftswunder. Walter Dahn, a star pupil of Joseph Beuys, collaborated with Dokoupils brother Georg in the Mülheimer Freiheit art group, and played music in the Cologne scene which emerged around Can. A chance meeting between Dokoupil and Dahn led to their teaming up. They met in Dokoupils Studio 61, The Wirtschaftswunders workplace. Die Partei was christened a few sessions later and a plan made to create a concept album according to strict rules: they would record on a single weekend, the music would be instrumental, electronic and danceable, sprinkled with a few film quotes. Dokoupil and Dahn knew exactly the moods they sought to conjure up with their tracks. They only allowed themselves the use of certain instruments and adhered to a duality of contrasts: good/evil, beautiful/ugly (in terms of sound), fast/slow, rightist/leftist politics (with reference to the artwork). The last piece of the puzzle was an album title: La Freiheit des Geistes (trans. "The Freedom of the Spirit"). And heres what Sounds magazine wrote about the album in January 1982: "La Freiheit des Geistes is quite an accomplishment. Dokoupil and Dahn have succeeded in making a cheerful, relaxed dance record without resorting to funk or DAF. Warm sounds abound, mechanically swift rhythm machines barely register, sparse guitar, bursts of trumpet and saxophone. Topped with little melodies, as simple as they are memorable, not dissimilar to Yello.”” - Bureau B.

Artist: DIE PARTEI
Title: La Freiheit des Geistes
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"In 1981 Tom Dokoupil and Walter Dahn, two young and wild protagonists of the German underground, got together to create a new music project entitled Die Partei. Using his Siluetes 61 alias, Dokoupil was already known as something of a musical eccentric and as a member of The Wirtschaftswunder. Walter Dahn, a star pupil of Joseph Beuys, collaborated with Dokoupils brother Georg in the Mülheimer Freiheit art group, and played music in the Cologne scene which emerged around Can. A chance meeting between Dokoupil and Dahn led to their teaming up. They met in Dokoupils Studio 61, The Wirtschaftswunders workplace. Die Partei was christened a few sessions later and a plan made to create a concept album according to strict rules: they would record on a single weekend, the music would be instrumental, electronic and danceable, sprinkled with a few film quotes. Dokoupil and Dahn knew exactly the moods they sought to conjure up with their tracks. They only allowed themselves the use of certain instruments and adhered to a duality of contrasts: good/evil, beautiful/ugly (in terms of sound), fast/slow, rightist/leftist politics (with reference to the artwork). The last piece of the puzzle was an album title: La Freiheit des Geistes (trans. "The Freedom of the Spirit"). And heres what Sounds magazine wrote about the album in January 1982: "La Freiheit des Geistes is quite an accomplishment. Dokoupil and Dahn have succeeded in making a cheerful, relaxed dance record without resorting to funk or DAF. Warm sounds abound, mechanically swift rhythm machines barely register, sparse guitar, bursts of trumpet and saxophone. Topped with little melodies, as simple as they are memorable, not dissimilar to Yello." - Bureau B.

Artist: DIN A TESTBILD
Title: Programm 6
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Few bands of the German post punk/new wave era can lay claim to "cult" status, but Din A Testbild most certainly can. Formed in 1978 by Mark Eins and Gudrun Gut, the combo played a significant role in defining the avant-garde music of Berlin and were among the pioneers of electro-clash, long before the genre even existed. In the year they started out, Din A Testbild played at the opening of the legendary Berlin underground club S.O. 36 and in 1980 they appeared at Hamburgs first "In Die Zukunft" (trans. "Into The Future") festival, organized by Alfred Hilsberg. "Abfall/Garbage," their first single, is emblematic of the entire West Berlin music scene from 1978-1982. The group also participated in the seminal "Geniale Dilletanten" event at the Tempodrom in Berlin (1981). Their contribution to German underground cinema and the art scene cannot be captured in a few simple words. Such is the measure of the cult and legend of Din A Testbild. Exactly 30 years after the release of their debut LP Programm 1 on Klaus Schulzes IC record label, the Berliners have picked up the thread of their album series with Programm 6 in 2010. Mark Eins is joined by long-term members Nutty Norman and Ralf Zimmermann, as well as Axel Brand, plus guest musicians Gerrit Meijer, the legendary Berlin guitarist of the band PVC and vocalist Bettina Schoch. Din A Testbild aim straight for the dancefloor on Programm 6: driving bass lines, hypnotic grooves, dark harmonies, mechanical sounds, expressive shouts. All given an extra-special flair through the sporadic intervention of industrial instrumentation such as Meijers metal-machine guitar or Nutty Normans chaoscillator and, on occasion, even through Schochs rousing vocals. The album plays without a pause -- Din A Testbild weave an intense, danceable, electronic, expressive aural collage. "Digital Sound Art" is the name the band give to their "acoustic backdrop for the third millennium," a concept which should not hide the fact that analog instruments are very much at play here, with trash guitar to the fore. Mark Eins has this to say about his music: "Its not a question of melodic arcs, but of acoustic perception and entertainment on the highest plane. Its about the challenge, not the standard. Self-discovery, not self-affirmation in a modern, intelligent world. Fun and enjoyment for body and soul, without esoteric pretensions. Art is entertainment is pop." -Bureau B

Artist: DORAU, ANDREAS
Title: Arger mit der Unsterblichkeit
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"In 1988, in a club in Munich, German pop legend Andreas Dorau heard a kind of music which was completely new to him. He remembers it like this: "While we were producing Demokratie, acid house kicked off. It hit me right between the eyes. It was the most incredible thing for me!" Things really took off shortly afterwards, when somebody in England came up with the notion of looping and editing recorded music by other bands. Dorau: "You could pick out your favorite passages from a song, choose the best of the 50s, 60s and 70s and build more or less the perfect song." Endless possibilities! Production techniques were also advancing apace. In 1991 a sampler capable of sampling two minutes cost around 300 Deutsche Marks. Just a few years earlier, such a device would have set the buyer back 10,000 Marks. And so Ärger mit der Unsterblichkeit (Trouble with Immortality) was fashioned in the living room of Doraus new musical companion, his congenial partner Tommi Eckardt. Eckardt played in a band by the name of Die alternativen Arschlöcher (trans. "The Alternative Assholes") and would later find international fame as one-half of the pop duo 2raumwohnung. A new era, a wonderful time. Dorau: "Our rave rigmarole left live audiences nonplussed. Once the album was released, I was seen as some kind of sick character." Others have been tarred with the same brush, have they not? Often, all too often, the best. Includes two bonus tracks." - Bureau B

Artist: DORAU, ANDREAS
Title: Aus der Bibliotheque
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $27.00
"LP version with CD. Many musicians dedicate their albums to a person who is close to them (a so-called "muse," often female) who has inspired or is said to have inspired the artist. Or a mysterious, mythical place. In rare and unusual cases, a record is sometimes dedicated to a person who is now estranged from the artist. So far, so boring. Until now, of course. Andreas Dorau, in contrast, has dedicated his new album to a completely different place, a completely different muse: the public libraries of Hamburg. To be precise, the main library on a street called "Hühnerposten." Dorau has spent much of his free time here in recent years. "The library is the little internet for haptic people," said Dorau. "And why should I spend money on books, music or DVDs, if they just gather dust?" Thus, he found the subject matter for this new album: the section for Hamburg History, where he found a passage on the horrific serial killer Fritz Honka ("Tannenduft"); in the science department, on the equally essential and popular element hydrogen ("Wasserstoff"); or simply pondering while gazing out the window ("Bienen am Fenster"). Even the journey there was enough to merit a potential hit ("Faul und bequem"). Taking a taxi to the lending library -- now thats style. The lending library can also lend a helping hand when it comes to music. It costs (almost) nothing. CDs, sheet music, its all there. So instead of hunting for curios at flea markets or researching in the rather non-sensual Internet, Dorau ended his trips to the library by filling his designer plastic bags with CDs. And at random: "greatest hits" of long-forgotten American beard-bands, recent releases from the ghastly field of "indie rock," top ten atrocities from five years ago, etc. But why that? Dorau: "I wanted to find the good moment on each CD, perhaps a certain harmony, analyze it, and then, well, maybe borrow it for my own songs." So basically the meta-level of the lending library. Or maybe its rather the realization of the old alchemists dream of using filth in order to produce gold? Aus der Bibliothèque is the first album Dorau has recorded with a band since 1987. "On my last album Todesmelodien from 2011, I was already experimenting with the idea of a band sound. I wanted to amplify that on this record and create my own band sound." The band sound was provided by Die Liga der gewöhnlichen Gentlemen, brothers in spirit and, incidentally, also friends of the lending library. Doraus version of a singing and sounding library was created in the studio of the gewöhnliche Gentleman Zwanie Johnson using banjos, saxophones, guitars, drum machines, an old piano, a Höfner violin bass and a great deal more. The result: poppy Krautrock, Beatles-esque sunshine-pop, soft-rock and electronics." - Bureau B.

Artist: DORAU, ANDREAS
Title: Blumen Und Narzissen
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"If it had been up to Andreas Doraus teacher, "Fred Vom Jupiter," his biggest hit, would never have seen the light of day. The 16 year-old Dorau wrote the song during project week at school and his tutor was of the opinion that the composition was therefore the intellectual property of his institute of learning. Luckily, the teacher in question didnt get his way. And, as they say, the rest is history. In the year 1981, the small, cool Düsseldorf label Ata Tak first released "Fred Vom Jupiter" as a single, selling 20,000 copies in the space of a few months, followed up by the Blumen Und Narzissen LP. It is a strange album, for the most part conceived and executed by a 16 year-old on a family holiday in the mountains. And what is even more extraordinary: it was successful. For Blumen Und Narzissen was a pop album, and when one considers the time (1981) and place (FRG) of its creation, then nothing would have appeared to have had less of a chance of success than a pop album in Germany. The mainstream charts were led by the Smurfs and Ernst Mosch, bars and discos resounded to the sound of Deutschrock and blues, while beyond the mainstream, well-meaning tree-huggers and punks ruled the roost -- two marginal groups whose seriousness was a bore. A tiny niche was occupied by Doraus soulmates, the likes of Der Plan, Palais Schaumburg et al, but in this very niche they were destined to remain. Blumen Und Narzissen is -- even decades later -- a great album. Dorau had actually planned on issuing not just the one single on Ata Tak, but ten further singles, each on a different independent label he admired. Thus Blumen Und Narzissen sounds just like that: a collection of singles. "Nordsee," "Junger Mann," and "Tulpen Und Narzissen" certainly had the potential to become hits. Connoisseurs will note parallels to the golden years of pop: singles, a girl group (Die Marinas), a passion for style. And now? Not much has really changed. The German charts continue to showcase an equally gruesome parade of local talent. And because good pop music is good pop music, Blumen Und Narzissen has found and will continue to find fans both at home and abroad. Both strange and contrary, Blumen Und Narzissen sounds neither old-fashioned nor 30 years old. On 180 gram vinyl with a printed innersleeve with photos and liner notes." - Bureau B.

Artist: DORAU, ANDREAS
Title: Demokratie
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"German new wave (Neue Deutsche Welle, NDW) reached its peak in 1983. In the public eye, Andreas Dorau was considered an important representative of NDW. But the sensitive artist had no desire to be thrown in the same basket as the terrible monstrosities of what had become a commercially exploited trend. Not that he felt any closer to the contemporary "underground" music of the day. "All far too dark. I didnt want to have anything more to do with music. Back then underground music wasnt allowed to be melodic. The dominant belief was: melody = stupid. And I wanted melodies." Dorau turned his back to the music business and moved to Munich and took his film studies seriously. Until one day, Ata Tak founder Moritz Rrr called him up and asked Dorau if he fancied an informal exchange of ideas with artists from Berlin, no strings attached. He did fancy it, and slowly but surely, he began to have fun again with music. At the same time, Dorau amassed a formidable record collection, largely from the 1960s. And so names like The Left Banke, Van Dyke Parks and The Move rotated on his record player. The idea to make a new album dawned on him gradually. Dorau recorded, discarded material, wrote lyrics, overdubbed, arranged, discarded more material. So, he would rearrange, one track after another, so on and so forth. It was clearly a painstaking process. Says Dorau: "I wanted to create pop music, as far as possible without guitars, simply different." Baroque pop/Roy Wood/Michael Nyman/melodies/no guitars, or thereabouts/electronics/Mayo Thompson also gets in on the act: an interesting mix! Includes two bonus tracks." - Bureau B

Artist: DORAU, ANDREAS
Title: Die Doraus & Die Marinas Geben Offenherzige
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
...Antworten Auf Brennende Fragen. "After the success of his debut album Blumen Und Narzissen (1981), featuring his "Fred Vom Jupiter" hit, German new wave/pop upstart Andreas Dorau was urged by his new record company, Teldec, to come up with a sophomore effort as soon as possible. To bridge the gap, Dorau first released a single entitled "Kleines Stubenmädchen," a jaunty number with amusing lyrics and a professional, radio-friendly production. But Dorau had not reckoned with the sensitivity of the censors: the humorless sexism detector ruthlessly raised the alarm amongst the radio stations. Those making the decisions at Teldec had the odd idea of asking Dorau to record an apology or explanation on cassette for radio programmers to play either before or after the incriminating song. Dorau could have filled a whole cassette to clarify the subject, perhaps even upholding a claim to artistic freedom. But -- doffing his cap to the spirit of punk -- Dorau naturally rejected the suggestion. A shame. Teldec lost interest in Dorau and the album was released on CBS -- minus "Stubenmädchen," of course. A far greater problem loomed, however: the musical landscape of the Federal Republic of Germany had changed since the release of Blumen Und Narzissen. Major record companies had radically commercialized what Alfred Hilsberg had once benevolently termed "Neue Deutsche Welle" (NDW)/German New Wave (thinking of bands such as Fehlfarben, Der Plan, D.A.F.). They remolded rock bands into new wave bands, wrote idiotic ditties and had clueless jumping jacks and jills perform them. One can imagine that Dorau did not exactly jump for joy when he realized he was about to be lumped in with the rest of them. The relationship between Dorau and his sophomore work was clouded from the word "go." And it still is. Although it is actually a really good record: from the psychedelic lyrics of "Polizist," "Sandkorn" and "Texas" to beautiful observations of daily life ("Feierabend"), the music meanders its way through snappy pop, bossa nova, exotica, disco and new wave. A certain, unique strain of psychedelia courses through the whole album, detectable in the cover, the lyrics and the instrumentation. Of course, theres a world of difference between Die Doraus Und Die Marinas Geben Offenherzige Antworten Auf Brennende Fragen (trans. "The Doraus And Marinas Give Openhearted Answers To Burning Questions") and the "idiots of NDW." But try explaining that to the man on the street. By the way: "Kleines Stubenmädchen" is included on this re-release as a bonus track, along with three others. On 180 gram vinyl with a printed innersleeve with photos and liner notes." - Bureau B.

Artist: DORAU, ANDREAS
Title: Silbernes Ich (Raritaten 1981-2014)
Format: Picture Disc LP
Label: Bureau B
Country: Germany
Price: $37.00
"2014 RSD release. Previously only available as a limited bonus disc for Andreas Doraus 50th anniversary retrospective Hauptsache Ich, Silbernes Ich features rarities, outtakes, demos and unreleased songs from the career of the German Ausnahmemusiker. Available on stunning picture vinyl and limited to 500 copies." - Bureau B.

Artist: FAUST
Title: Fresh Air
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $24.00
"Fausts new album Fresh Air differs in several respects from its predecessor, Just Us (BB 182CD/LP, 2014). The recordings were made at Jean-Hervé Pérons 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 Werner "Zappi" 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 tour in 2016). In these community recordings, with friendly support from Pérons 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. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub, and Ysanne Spevack as a wonderful wave-maker on the viola. The seven and a half minute title track 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". 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 schnapps and suddenly sees two cows. The story of the band can tell that tale nicely. As Krautrockers, Faust had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rocknroll with the ease of rogues and the determination of declared sonic renegades. One can still feel the breathing of this music in current Faust pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". "We let the music play through us," says Jean-Hervé Péron. Jean-Hervé Péron has a little tip for us: Listen to the fish." - Bureau B.

Artist: FAUST
Title: Fresh Air (Orange Vinyl)
Format: LP + CD + 7"
Label: Bureau B
Country: Germany
Price: $44.00
Orange vinyl version with bonus 7". Includes CD. "Fausts new album Fresh Air differs in several respects from its predecessor, Just Us (BB 182CD/LP, 2014). The recordings were made at Jean-Hervé Pérons 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 Werner "Zappi" 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 tour in 2016). In these community recordings, with friendly support from Pérons 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. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub, and Ysanne Spevack as a wonderful wave-maker on the viola. The seven and a half minute title track 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". 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 schnapps and suddenly sees two cows. The story of the band can tell that tale nicely. As Krautrockers, Faust had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rocknroll with the ease of rogues and the determination of declared sonic renegades. One can still feel the breathing of this music in current Faust pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". "We let the music play through us," says Jean-Hervé Péron. Jean-Hervé Péron has a little tip for us: Listen to the fish." - Bureau B.

Artist: FAUST
Title: Just Us
Format: LP/CD
Label: Bureau B
Country: Germany
Price: $27.00
"Includes full album on CD. Faust for all. The Krautrock legends lay down the musical foundations for everyone else to make something of their own. "j US t" -- pronounced "Just Us" -- is the new album from legendary Hamburg band, Faust. Founding members Jean-Hervé Peron and Zappi Diermaier have laid down 12 musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. While Diermaier largely remains true to his habitual handiwork -- drums and percussion --Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like "nur nous" and "ich bin ein pavian" show that Faust have lost none of their predilection for avant-garde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions ("cavaquinho," "gammes"). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage. The history of the band: "There is no group more mythical than Faust." Thus wrote English musician and eccentric Julian Cope. Which says it all really, neither the habitus nor the music of the Hamburg group was easy to grasp. While some lauded Faust as the best thing that ever happened to rock, others dismissed them as shameless dilettantes. Their collage of Dadaism, avant garde rock and free improvisation radically divided opinion. When the first LP was unleashed on the world in 1971, Faust were very much the prophet in their own land, as the saying goes: few were interested in listening to their music -- in Germany. Not so across the Channel: this is where Fausts career really kickstarted. These monoliths of avant-garde rock sold 100,000 copies of their album The Faust Tapes. More than 40 years after their debut, Faust have come up with another archetypical album: inspiring, innovative, unpredictable, crossing boundaries, anarchic - Faustian!" - Bureau B.

Artist: FEHLFARBEN
Title: Ein Jahr (Es Geht Voran)/Feuer An Bord
Format: 7"
Label: Bureau B
Country: Germany
Price: $16.00
"Officially licensed exact repro of this 1982 single, originally issued on EMI Electrola. Fehlfarben were formed in 1979 from previous members of Mittagspause, D.A.F., S.Y.P.H., Der Plan, and other musicians from the Düsseldorf punk scene. In 1980, they released Monarchie And Alltag (Monarchy And Everyday Life), an album recognized as one of the most important German-language rock records. The single "Ein Jahr (Es Geht Voran)" would be their only hit single, and was, in fact, disliked by the band members themselves, who had initially produced its slick disco groove more in jest than seriousness." -Bureau B

Artist: GANE, TIM
Title: Kollektion 01: Sky Records Compiled by Tim Gane
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"To provide an overview of the various musical styles in which Bureau B specializes, the label launches a new compilation series entitled Kollektion. Each release in this series will be curated by a musician perfectly suited to the task. The first kick-off release will be: Kollektion 01: Sky Records, compiled by Tim Gane. The erstwhile Stereolab mastermind delves through the archives of the legendary German Krautrock label. More projects to follow: Kollektion 02: Roedelius -- Electronic Music -- Compiled by Lloyd Cole; Kollektion 03: Bureau B -- Compiled by Richard Fearless (Death In Vegas) -- Double Album; Kollektion 04: Populare Mechanik -- Compiled by Holger Hiller. About Sky Records: The record company was founded in the year 1975 and went on to become one of the few German labels to reap international acclaim. It was run by Gunter Körber, who quit his job at Metronome where he and Bruno Wendel had spent four years developing and managing the legendary Brain label. About Tim Gane: No less a figure than Tim Gane, the man behind Stereolab, has delved into the Sky Records archives for the Kollektion series. Gane has never hidden his love of Krautrock; many a Stereolab song has its foundations in the typical "motorik" beat, while his latest band, Cavern Of Anti-Matter wallows in Klaus Dinger rhythms. Experimental sounds hold no fear for him, as early noise cassette releases under his Un-Kommuniti alias testify. His selection of tracks fits the pattern seamlessly: Asmus Tietchens, Cluster, Moebius, Roedelius, Michael Rother, Riechmann, Gunter Schickert, etc. All names writ large in the avant-garde scene of German progressive music, as well as underlining Gunter Körbers audacity in offering such music a forum with his label. In the booklet, Asmus Tietchens, who released four albums on Sky Records, looks back on collaborating with Gunter Körber." - Bureau B.

Artist: GANE, TIM
Title: Kollektion 01: Sky Records Compiled by Tim Gane: Volume A
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP edition, split into two volumes sold separately. To provide an overview of the various musical styles in which Bureau B specializes, the label launches a new compilation series entitled Kollektion. Each release in this series will be curated by a musician perfectly suited to the task. The first kick-off release will be: Kollektion 01: Sky Records, compiled by Tim Gane. The erstwhile Stereolab mastermind delves through the archives of the legendary German Krautrock label. About Sky Records: The record company was founded in the year 1975 and went on to become one of the few German labels to reap international acclaim. It was run by Gunter Körber, who quit his job at Metronome where he and Bruno Wendel had spent four years developing and managing the legendary Brain label. About Tim Gane: No less a figure than Tim Gane, the man behind Stereolab, has delved into the Sky Records archives for the Kollektion series. Gane has never hidden his love of Krautrock; many a Stereolab song has its foundations in the typical "motorik" beat, while his latest band, Cavern Of Anti-Matter wallows in Klaus Dinger rhythms. Experimental sounds hold no fear for him, as early noise cassette releases under his Un-Kommuniti alias testify. This first vinyl volume contains seven tracks; artists: Asmus Tietchens, Moebius & Beerbohm, Roedelius, Michael Rother, Cluster and Moebius & Plank." - Bureau B.

Artist: GANE, TIM
Title: Kollektion 01: Sky Records Compiled by Tim Gane: Volume B
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP edition, split into two volumes sold separately. This is Volume B. Contains final 10 tracks from the CD version. Artists: Asmus Tietchens, Roedelius, Eno Moebius Roedelius, Moebius & Beerbohm, Riechmann, Moebius, Gunter Schickert and Cluster." - Bureau B.

Artist: GROSSKOPF, HARALD
Title: Oceanheart
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
LP version of 180 gram vinyl. "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-70s to turn his attention to electronica. Grosskopf thus became the first drummer to specialize in the electronic music field. He played drums on Klaus Schulzes Body Love album and on YOUs 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 80s, 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 Grosskopfs 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 labels ongoing thrift program. 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 best-seller, 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.

Artist: GROSSKOPF, HARALD
Title: Synthestist
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Harald Grosskopf was in his early twenties when LSD blew [his] reality away, as he recalls. Born in Hildesheim in 1949, he had previously drummed in fairly conventional rock bands, most recently for Wallenstein. Their label-boss Rolf-Ulrich Kaiser was fond of facilitating jam sessions for musicians on his Ohr und Pilz label, often supplying his cosmic couriers with LSD (unbeknown to them, on occasion). In one such session, the drug inspired something of an epiphany in Grosskopf: There I was playing the drums when, in the midst of my euphoria, I realized that I had been imitating other drummers. Suddenly a voice spoke to me: stop trying to sound like Billy Cobham or Ginger Baker. From that moment on I felt liberated, free to drum without having to shine in a particular role. Having discovered his own musical identity, Harald Grosskopf understood that a standard rock combo was not the ideal conduit through which to express it. Grosskopf: I was completely in thrall to electronic music and the total freedom that it offered. This was the music I wanted to create. I knew it would be a success, the energy levels were so high. Grosskopf consequently left Wallenstein. I fell into a hole at first, wondering what I was going to do. So I sold my prized drum kit and used the money to buy a guitar, amp and echo device. A few days later, the doorbell rang. It was Manuel Göttsching, on his way back to Berlin from a tour of France. They knew each other from Berlins electronic scene and recording sessions for the likes of Ash Ra Tempel. Göttsching invited Grosskopf to sign up for his new project Ashra and the rest is history: Ashra (Grosskopf, Gottsching, Lutz Ulbrich alias Luul) released a series of successful albums in the years that followed. It was not until the summer of 1979, however, that he finally felt ready to release a solo album. Synthesist comprises eight instrumentals, recorded largely by Grosskopf on his own. His melodies, carried along by synthesizers and drums, were reminiscent of works by Berlin electronic friends such as Klaus Schulze and Tangerine Dream, as well as those cosmic sessions of the early 1970s -- yet each melody retains a unique timbre. Synthesist is thus regarded as a classic by electronic music enthusiasts all over the world, evoking a thrilling musical era of the past with equal capacity to excite today." - Christoph Dallach.

Artist: GRUNBERG, SVEN
Title: Hingus
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Bureau B presents a reissue of Sven Grünbergs Hingus, originally released in 1981. Sven Grünberg is a famous musician for film and theatre in Estonia - an old hand in the field of electronic ambient music. In 1974, whilst still a music student, he and Härmo Härmfounded Mess, a progressive rock band. Grünberg was the first musician in Estonia to use a synthesizer. The ambient electronica of Hingus(Breath), recorded between 1978 and 1980, was spiced up with prog rock and a nod to the space age - not to mention a pronounced Asian influence on the title track. Grünberg had been interested in Asian music and instruments, particularly Tibetan music, since his youth, as can be heard in his work from that time. The 23 minute title track invites us into a fascinating, futuristic world of sound, laced with far eastern tonality, embellished with a church organ, extremely rare synthesizers and extraordinary percussion effects. Organs from the church in Rapla and the cathedral in Tallinn can be heard on "Hingus I" to "Hingus IV". The religious tones are interspersed with synthesizer sounds and orchestral percussion or effects, ascending fleetingly into ecstasy. Tubular bells, cymbals (piatti), a ratchet (raganella), tambourine, gongs (an east Asian tam-tam, for example), glockenspiel and castanets are all featured. Grünberg also used various electronic instruments: the HH Synthesizer, HH Percussion Synth and a KS Synthesizer. Not surprisingly, little information can be found on these machines as they were created by Härmo Härm and Koit Saarmäe themselves, the only two people building synths in Estonia in those days. The exotic assemblage also included a Selmer Clavioline from France, an ARP Omni and a Logan String Melody. The other two tracks, no less superb, are more in the stylistic tradition of the Berliner Schule/Berlin School (Klaus Schulze,Tangerine Dream). Hingus merits a special place in the history of ambient electronica thanks to its remarkable combination of church organs, synthesizers, orchestral percussion and echoes of Asian instrumentation. An underrated classic of the genre, there are moments when its extraterrestrial beauty transports the listener into the higher realms of psychedelia.” - Bureau B.

Artist: GURUMANIAX
Title: Psy Valley Hill
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version. Mani Neumeier has always relished working with the most diverse of musicians. That was the case in Guru Guru days, and it is very much the same today. For his latest project Gurumaniax, he teamed up with his old colleague Ax Genrich (Guru Guru guitarist from 1970-75) and the bass player Guy Segers (doyen of Belgian avant-garde rock, founder of the key band Univers Zero). So: experience, virtuosity and professionalism to the power of three. Neumeier had been wanting to get something going with Genrich for some time. Indeed, they had shared the stage together on a number of occasions in recent years. Their last session together in the studio, however, took place around 35 years ago. The death of Guru Guru founding member Uli Trepte (track 8 is dedicated to his memory), only served to strengthen Neumeiers resolve. As he points out, who knows for how long either Neumeier himself or Genrich will be able to play their instruments with the same degree of virtuosity which they command today. Still, while the pair of them are blessed with such rude health, feeling not a day older than 50, Mani was determined to give it everything one more time with his old colleague and record the results for posterity. Neumeier and the bassist Guy Segers got to know each other a good year earlier, when they played an improvised gig together with Makoto Kawabata (Acid Mothers Temple) and Daevid Allen (Gong) at the Zappanale Festival. They hit it off immediately, making Segers a logical choice for the Gurumaniax project. Four days in the studio, three at the mixing desk and the psychedelic diamond was finished. Some song fragments already existed, but most were spontaneous creations of the triumvirate in the studio. Recalling classic Guru Guru highlights such as UFO (1970), Hinten (1971) and KänGuru (1972), the trio launched themselves freely into improvisation, channelled through their psychedelic/progressive/avant-garde rock terrain of choice -- others call it Krautrock. There is even a direct reference to their second LP: the track "Spaceship Memory" is, as the name suggests, a musical descendant of "Spaceship" from the year 1971. And just in case you missed it: the project name is the sum of its members names: Guru+Mani+Ax." -Bureau B

Artist: GUT UND IRMLER
Title: 500m
Format: LP/CD
Label: Bureau B
Country: Germany
Price: $23.00
180 gram vinyl. Includes full album on CD. "The notion thatJochen Irmler and Gudrun Gut would one day merge the best of their two worlds was never quite to be expected. We hear Irmlers meandering, wistfully psychedelic organ sound, seeming to come from a different era. And we hear Guts reverb-laden, whispering, breathy voice as she sings: Sonnenbrille auf, wir gehen zu den Sternen/Sonnenbrille ab, wir tauchen tief hinein (in the track Auf & Ab). Both approaches to music -- the Krautrock-informed, epic willingness to explore on the part of Irmler; the structured and technoid Berliner discipline (which is practically a contradiction in itself) of Gut -- are conjoined in glistening beauty on this collaborative album 500m, recorded at the Faust studio in Scheer in Autumn of 2013. Analog and digital, town and country, past and present, elliptical melodies and linear beats -- all complementing each other in a most cosmic manner. Gudrun Gut: I had asked Jochen if perhaps we might like to work together. Both with Faust and his solo works, his approach is more improvisational. Improv is not exactly my thing; I dont work that way. I tend to construct something, then refine whats been recorded using the computer, until everything fits. But Jochens organ-playing has always fascinated me. He sits down at the organ and plays and plays, while I tend to dissect everything, then deconstruct and collage things. Jochen Irmler: A few years ago, when she played at our Klangbad Festival, I asked Gudrun if she might like to make an album with me. For more than a decade, I have been following a concept that merges electronics and percussion -- and most collaborations were solely among men. I wanted to break with that and asked Gudrun if she would like to complement my organ improvisations. And in her case, she doesnt play the drums, but programs the drums. In fact, the clash of these two schools is especially constructive. Some pieces consist only of snippets and cut-ups of Irmlers organ, which are held together by Guts programming and her voice. In other tracks, the organ plays through. The division of labor is interesting: During the initial two sessions in Scheer, Jochen Irmler was at the helm, while Gut contributed rudimentary grammar -- simplistic backing beats, rough architectures, moods. Back at her own studio in Berlin, Gut refined and deconstructed the sometimes up to 30-minute long original improvisations. The roles were essentially exchanged, with Irmler listening from a distance via file-sharing. When listening to the album with that in mind, one can guess how much editing is behind these tracks. If two such esteemed musicians as Jochen Irmler and Gudrun Gut not only declare their mutual trust, but also live it out within the framework of a co-production, as described with the example of their working method, the result is per se relevant, because it is a historical document. That it also sounds so incredibly inspired, of course, is a result of these coordinates, but by no means self-evident. Why might it be so? Where does the magic of these recordings come from? Gudrun Gut: I was constantly dizzy during production in Scheer. I asked Jochen why this could be. He replied, We are 500 meters above sea level here. That immediately made sense to me, and at the same time explains the album title." -Max Dax, Warsaw 2014.

Artist: GUT UND IRMLER
Title: 500m
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"The notion that Jochen Irmler and Gudrun Gut would one day merge the best of their two worlds was never quite to be expected. We hear Irmlers meandering, wistfully psychedelic organ sound, seeming to come from a different era. And we hear Guts reverb-laden, whispering, breathy voice as she sings: Sonnenbrille auf, wir gehen zu den Sternen/Sonnenbrille ab, wir tauchen tief hinein (in the track Auf & Ab). Both approaches to music -- the Krautrock-informed, epic willingness to explore on the part of Irmler; the structured and technoid Berliner discipline (which is practically a contradiction in itself) of Gut -- are conjoined in glistening beauty on this collaborative album 500m, recorded at the Faust studio in Scheer in Autumn of 2013. Analog and digital, town and country, past and present, elliptical melodies and linear beats -- all complementing each other in a most cosmic manner. Gudrun Gut: I had asked Jochen if perhaps we might like to work together. Both with Faust and his solo works, his approach is more improvisational. Improv is not exactly my thing; I dont work that way. I tend to construct something, then refine whats been recorded using the computer, until everything fits. But Jochens organ-playing has always fascinated me. He sits down at the organ and plays and plays, while I tend to dissect everything, then deconstruct and collage things. Jochen Irmler: A few years ago, when she played at our Klangbad Festival, I asked Gudrun if she might like to make an album with me. For more than a decade, I have been following a concept that merges electronics and percussion -- and most collaborations were solely among men. I wanted to break with that and asked Gudrun if she would like to complement my organ improvisations. And in her case, she doesnt play the drums, but programs the drums. In fact, the clash of these two schools is especially constructive. Some pieces consist only of snippets and cut-ups of Irmlers organ, which are held together by Guts programming and her voice. In other tracks, the organ plays through. The division of labor is interesting: During the initial two sessions in Scheer, Jochen Irmler was at the helm, while Gut contributed rudimentary grammar -- simplistic backing beats, rough architectures, moods. Back at her own studio in Berlin, Gut refined and deconstructed the sometimes up to 30-minute long original improvisations. The roles were essentially exchanged, with Irmler listening from a distance via file-sharing. When listening to the album with that in mind, one can guess how much editing is behind these tracks. If two such esteemed musicians as Jochen Irmler and Gudrun Gut not only declare their mutual trust, but also live it out within the framework of a co-production, as described with the example of their working method, the result is per se relevant, because it is a historical document. That it also sounds so incredibly inspired, of course, is a result of these coordinates, but by no means self-evident. Why might it be so? Where does the magic of these recordings come from? Gudrun Gut: I was constantly dizzy during production in Scheer. I asked Jochen why this could be. He replied, We are 500 meters above sea level here. That immediately made sense to me, and at the same time explains the album title." --Max Dax, Warsaw 2014.

Artist: HARMONIA
Title: De Luxe (Immer Wieder)/Monza (Rauf Und Runter)
Format: 7"
Label: Bureau B
Country: Germany
Price: $16.00
"Officially licensed exact repro of this 1975 single, originally issued on Metronome. The sweet, hypnotic melodies and the monotonous beats by Michael Rother (Neu!), Hans-Joachim Roedelius (Cluster) and Dieter Moebius (Cluster) and the repetitive lyrics, "immer wieder ... rauf und runter..." make up this Krautrock/electronica classic." -Bureau B

Artist: KARG, JURGEN
Title: Elektronische Mythen
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Jürgen Karg began his music career in the 1960s as a bassist for German jazz legend Wolfgang Dauner. It was not until the 1970s that he switched his attention to electronic music, launching himself wholeheartedly into exploring the genre and building up an extensive collection of synthesizers over a five-year period. His efforts culminated in the 1977 Elektronische Mythen LP, a mighty opus of experimental music that reveals new aspects every time it is played. This is its first reissue. The technology of the system Karg had constructed, based on sequencers and four EMS synths, was state of the art for the period and promised endless variations. But this in itself came at a price; operating such a complex system posed a serious challenge to the artist, which Karg had to face all by himself. EMS systems like this were few and far between, not least because of the expense of putting the whole thing together. Hence there was little chance to compare notes with other music makers. "The track “Die versunkene Stadt” predominantly features material from my earliest attempts at digital signal processing, you can clearly hear the sheer diversity of sounds at play," Karg explains in the liner notes. "Usable musical results were saved on tape, in some cases edited later and then mixed with the aid of several variable speed two- and four-track tape recorders and an 8-track machine." Indeed, one finds oneself listening to a highly concentrated collage distilled from years of sonic exploration. Waves swell and stand, sample-and-hold cascades blubber, bells jingle, and wonderfully slow layers loop recursively, changing their tone over a period of minutes. There is a decidedly warm and organic quality to most of the sounds -- at times sounding remarkably like piano and electric bass -- while original synthetic sounds reappear over and over in the collage. On "Vollmond Selene" Karg worked primarily with permuted sequences of ring-modulated sounds. If the music he made with Dauner was upbeat and revved-up, then Elektronische Mythen is anything but. Quite the opposite. Jürgen Kargs music is deeply serious, as vexing as a jamais vu, yet absolutely beautiful. Elektronische Mythen is an album that fits like a puzzle piece between Wendy Carloss first and second versions of her soundtrack forA Clockwork Orange (1971).” - Bureau B.

Artist: KLOSOWSKI & PYROLATOR, A.K.
Title: Home Taping Is Killing Music
Format: LP
Label: Bureau B
Country: Germany
Price: $27.00
"Home Taping Is Killing Music is the first and only LP by Pyrolator (Ata Tak label operative and member of Der Plan) and tape loop tinkerer Arnd Kai Klosowski. The result: whimsical, raw sound experiments from the early days of sampling technology. Originally released in 1985 on Ata Tak/WR 30. It was in the mid-1980s when the unsuccessful blues guitarist Arnd Kai Klosowski realized that the DJ was the star of the show in the discotheque: not the music and not the musicians. He then asked himself: "What if it were possible to create something new, a mix of recorded and live music which could be switched on and off intermittently?" Klosowski built himself a mixing desk with eight inputs, plugged-in microphones, called up a few people and they improvised their hearts out. "I dont know what they played, exactly. But I do know that it simply didnt work," Klosowski recollects. And then he remembered the tape loop experiments he had worked on as a teenager. So he got back to inventing, tinkering, and soldering. The first recordings made with this new, homemade tape loop device found their way to ZickZack label boss Alfred Hilsberg, who decided to release an album. All he needed was a producer. At this point, Pyrolator finally enters the scene, a musician (as a member of Der Plan, for example), producer, and Ata Tak label operative. Similarities in the working practices and musical leanings of Pyrolator and Klosowski are there for all to see, or rather to hear. Both were interested in collage, obscure music, and technical innovation. They went into the studio together and recordedHome Taping Is Killing Music. The original plan was to issue the album on Hilsbergs ZickZack label, but it actually came out through Ata Tak. Why was that? Pyrolator: "We felt that the album was far better suited to Ata Tak, and so we came to an agreement with Alfred that we could release the record." Klosowski adds another significant detail to this explanation: "Pyrolator had to invest more time and work than anticipated. He had imagined it all to be somewhat easier. I lacked experience in studio technology, so Pyrolator had to bear the brunt of that. Two worlds collided, that of a trained musician and my own. We overshot the studio budget by some distance." The Klosowski album produced by Pyrolator thus became a joint Klosowski/Pyrolator album, with Ata Tak the logical label choice. Home Taping Is Killing Music is a rough diamond from the pioneering era of sampling technology. True, the Emulator 1 already existed and was used extensively, but the tape machine which Klosowski designed and constructed could play considerably longer loops and samples than the E-MU Systems product. And so it was that salsa trumpets and Gregorian chants were heard side-by-side, railway noises aligned with Cambodian music and gospel met Bavarian yodeling. At no time did technology become an end in itself: it always served the melody, the beat, the element of surprise. In short, it was in the service of listening pleasure. Comes on 180 gram vinyl with a CD copy of the entire album." -Bureau B.

Artist: KLOSOWSKI & PYROLATOR, A.K.
Title: Home Taping Is Killing Music
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Home Taping Is Killing Music is the first and only LP by Pyrolator (Ata Tak label operative and member of Der Plan) and tape loop tinkerer Arnd Kai Klosowski. The result: whimsical, raw sound experiments from the early days of sampling technology. Originally released in 1985 on Ata Tak/WR 30. It was in the mid-1980s when the unsuccessful blues guitarist Arnd Kai Klosowski realized that the DJ was the star of the show in the discotheque: not the music and not the musicians. He then asked himself: "What if it were possible to create something new, a mix of recorded and live music which could be switched on and off intermittently?" Klosowski built himself a mixing desk with eight inputs, plugged-in microphones, called up a few people and they improvised their hearts out. "I dont know what they played, exactly. But I do know that it simply didnt work," Klosowski recollects. And then he remembered the tape loop experiments he had worked on as a teenager. So he got back to inventing, tinkering, and soldering. The first recordings made with this new, homemade tape loop device found their way to ZickZack label boss Alfred Hilsberg, who decided to release an album. All he needed was a producer. At this point, Pyrolator finally enters the scene, a musician (as a member of Der Plan, for example), producer, and Ata Tak label operative. Similarities in the working practices and musical leanings of Pyrolator and Klosowski are there for all to see, or rather to hear. Both were interested in collage, obscure music, and technical innovation. They went into the studio together and recordedHome Taping Is Killing Music. The original plan was to issue the album on Hilsbergs ZickZack label, but it actually came out through Ata Tak. Why was that? Pyrolator: "We felt that the album was far better suited to Ata Tak, and so we came to an agreement with Alfred that we could release the record." Klosowski adds another significant detail to this explanation: "Pyrolator had to invest more time and work than anticipated. He had imagined it all to be somewhat easier. I lacked experience in studio technology, so Pyrolator had to bear the brunt of that. Two worlds collided, that of a trained musician and my own. We overshot the studio budget by some distance." The Klosowski album produced by Pyrolator thus became a joint Klosowski/Pyrolator album, with Ata Tak the logical label choice. Home Taping Is Killing Music is a rough diamond from the pioneering era of sampling technology. True, the Emulator 1 already existed and was used extensively, but the tape machine which Klosowski designed and constructed could play considerably longer loops and samples than the E-MU Systems product. And so it was that salsa trumpets and Gregorian chants were heard side-by-side, railway noises aligned with Cambodian music and gospel met Bavarian yodeling. At no time did technology become an end in itself: it always served the melody, the beat, the element of surprise. In short, it was in the service of listening pleasure." -Bureau B.

Artist: KLUSTER
Title: Klopfzeichen
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl version. Imagine finding a message in a bottle, forty years after it was dispatched. That is what it feels like when you listen to Klusters Klopfzeichen for the first time, mysterious, hard to decipher, a relic of a time long since passed. The handwriting is archaic, barely legible, the complex contents only falling into place when examined through the light of historical context. Klopfzeichen is an incredibly important release for the time in which it appeared (1971), an extraordinarily significant document. More than anything, the three messengers Konrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius formulated a radical claim with Klopfzeichen: anarchic, unlimited freedom of art and music. Klusters music may have aged, but their message has not. That the recording session happened at all is, curiously enough, due to a church musician, a man one would then have described as extremely progressive. Oskar Gottlieb Blarr not only made it possible for these musical enfants terribles to work in Düsseldorfs Rhenus Studio, he also orchestrated the release of Klopfzeichen shortly afterwards through the Schwann Verlag, a publisher closely associated with the church, on their own record label, AMS Studio (subtitled "Werkraum für neue Kirchenmusik"/trans. "workspace for new church music"). This "ecclesiastical" affinity is probably the reason for the strongly-committed political and religious texts spoken over the music on the A-side. Kluster lyrics they are not, and they sound a little strange today. True to their understanding of artistic freedom (Joseph Beuys was undoubtedly an influence), Kluster improvised with all sources of sound they could lay their hands on: guitar, bass, cello, flute, drums and various other pieces of equipment not usually intended for musical use. None of them could profess to be an expert on any of the instruments. They were brilliant dilettantes, a decade before the concept was invented. Electronics? No sign of them. The budget did not stretch to synthesizers or anything of that ilk. That said, a certain Conny Plank was on board as sound engineer for the early recordings. He added an apocalyptic character to Klusters menacing and chaotic music. Klopfzeichen was the most radical album of the early German pop music avant-garde by a country mile. Its sounds and noises had nothing in common with the sequencer-generated electronic music emerging from Berlin or Düsseldorf. Kluster music was Angstmusik, the music of fear. Liner notes by Asmus Tietchens." -Bureau B.

Artist: KLUSTER
Title: Schwarz (Eruption)
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Comes on 180 gram vinyl and includes download card for the album. The official Konrad Schnitzler discography lists Eruption, released in 1971, under the title Schwarz, as the first Schnitzler album. In actual fact, Eruption is the third and final LP by the group Kluster, following Klopfzeichen (BB 110CD/LP) and Zwei Osterei (BB 111CD/LP). The line-up printed on the labels leaves no room for doubt. Unlike the two previous albums, Eruption was not issued by the Schwann Verlag, but by the band on its own, hence the task of financing the record fell to the participants. Roedelius and Moebius, however, were either unable or unwilling to get involved in this risky business. Without further ado, Schnitzler decided to cover the cost of pressing up 200 LPs which he would bring out under his own name. This historical "error" has now been corrected: Eruption is a Kluster album. Seen alongside Klopfzeichen and Zwei Osterei, Eruption is a different beast altogether. The total absence of lyrics, to begin with; the music is music, nothing more. The listener revels in a pure symphony of sound, its dramatic artistry holding his attention until the very end. And that is the second major difference to the first two LPs. Whereas their furious intensity sounded almost brutally improvised, Eruption appears clearly structured throughout, musical freedoms notwithstanding. Kluster take their time in developing spontaneous ideas here, they get loud and then, for lengthier periods, go quiet, suggesting at times a sense of absolute emptiness, followed by outbreaks of dark anger. The possibilities opened up by live electronics were thrillingly exploited to the limit. And yet there is undeniably a method in the music. In the course of their many live concerts, Kluster had learned to use instruments and electronics constructively, reaching the zenith of their musical powers of expression on Eruption. Kluster disbanded after Eruption. The album is a revealing document of a band striving to stretch the musical spectrum during the early 1970s, and indeed, how capable they were of doing so. Moebius and Roedelius went on working together as Cluster, and Conrad Schnitzler (now with a C) began developing his own vision of electronic music, a project he continued assiduously until his death (2011). Still, all three had their roots in Kluster -- incredibly powerful roots. And Kluster have never ceased to be hugely fertile ground. May their creative inspiration never run dry." -Bureau B.

Artist: KLUSTER
Title: Zwei Osterei
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
2015 repress. "Zwei Osterei is the second half of a recording session which took place on a single day in November 1970. Klopfzeichen is the first part. Yet the uncompromising Zwei Osterei surpasses the earlier Klopfzeichen album by some distance in terms of its harsh noisiness and near brutal sonic attacks. Everything that was left of the revolutionary verve of the late 1960s seems to have been distilled into this music with a burning glass: aesthetic destruction to liberate the mind and ears for utopian designs; the definitive coalescence of art and pop into something completely new; unbridled musical freedom, coupled with a love of noise. Zwei Osterei is all of this. How unsettling Klusters music must have been for the professional avant-garde of the period (music journalists, critics etc.). Kluster turned pretty much everything associated with so-called progressive pop music on its head. No song structure, no rhythm, little more than muffled pulsation. No heroic poses, no transfigured gestures on stage. This attitude, or rather anti-attitude is particularly in evidence on track two of Zwei Osterei. Still no electronic instruments, just guitar, drums and non-musical sonic sources as Kluster unleash a sound spectacle which anticipates the industrial artists who emerged some years later. Conny Plank played a pivotal role as sound engineer with the relatively limited studio equipment available to him. His meticulous reading of the bands intentions led to the creation of pure, electroacoustic music -- loud, violent, real-time improvisation. Shrill feedback, tape echo loops and layers of sonic cascades dominate this section of the album. This was no longer psychedelic, nor "progressive." It was more like sonic warfare, waged against all musical categories and conventions. Many a listener posed the rather helpless question "What is that supposed to be??... art? Music? A happening?" According to statements made by the band, none of the above. It was simply Kluster. A lofty claim which Zwei Osterei fulfills one hundred percent. Translated, the statement is nothing more nor less than a challenge to ignore the accumulated theory of art and music, with all the risks and side effects this entails. Back in 1970, Kluster could not have known that they were setting in motion a process which would endure until the present day. But they no doubt hoped as much." -Bureau B.




Artist: LORENZ, RUDIGER
Title: Southland
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
“Pressed on 180-gram vinyl. Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. (Hobby) musician Rüdiger Lorenz, a pharmacist by trade, completed an album almost every year beginning in the early 1980s, first as limited runs of two to three hundred on cassette, then switching to vinyl in 1983, and CD in 1990. His last album was released in 1998. Two years later Lorenz died -- unexpectedly and far too soon. In his youth, Lorenz became familiar with bands like Kraftwerk, NEU!, Can, and Cluster. These bands had a lasting influence on his relationship with music, guiding him toward electronica. Electronic music carried a huge practical advantage for Lorenz in pursuing his craft: he was by nature more of a loner, rather than someone who fed off the group dynamic of playing in a band. Soon after purchasing his first synthesizer set-up he quit his band and installed a studio of sorts in his living room. In 1981 he released his first cassette album. Initially intended merely as something to be handed out to friends, the music was surprisingly well received, encouraging Lorenz to persevere. Year in, year out. After work and on weekends. Most copies were sold in the USA. His synthesizer collection grew larger, containing kit pieces, home-made elements, and newly purchased units. One of his own creations, the Loran Modular synthesizer, even found its way into various synthesizer lexica. Lorenz, however, was by no means a classic electronics tinkerer. His technical skills were limited to soldering, as he admitted in a radio interview for HR3, the only interview he ever gave. Southland was created in 1984 and perfectly encapsulates the two facets that dominated German electronic music at that time: on the one hand, poppy, at times absurd tracks, informed by such pre-NDW (German new wave) musicians as Pyrolator; on the other hand more plangent, spherical music echoing Tangerine Dream and the like. His son Tim, thirteen then (now a member of Andreas Doraus live ensemble), can be heard speaking a few lines into a vocoder on "Strange Feelings," and later, as a graphic design student, Tim prepared artwork for his fathers releases.” - Bureau B.

Artist: LORENZ, RUDIGER
Title: Southland
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. (Hobby) musician Rüdiger Lorenz, a pharmacist by trade, completed an album almost every year beginning in the early 1980s, first as limited runs of two to three hundred on cassette, then switching to vinyl in 1983, and CD in 1990. His last album was released in 1998. Two years later Lorenz died -- unexpectedly and far too soon. In his youth, Lorenz became familiar with bands like Kraftwerk, NEU!, Can, and Cluster. These bands had a lasting influence on his relationship with music, guiding him toward electronica. Electronic music carried a huge practical advantage for Lorenz in pursuing his craft: he was by nature more of a loner, rather than someone who fed off the group dynamic of playing in a band. Soon after purchasing his first synthesizer set-up he quit his band and installed a studio of sorts in his living room. In 1981 he released his first cassette album. Initially intended merely as something to be handed out to friends, the music was surprisingly well received, encouraging Lorenz to persevere. Year in, year out. After work and on weekends. Most copies were sold in the USA. His synthesizer collection grew larger, containing kit pieces, home-made elements, and newly purchased units. One of his own creations, the Loran Modular synthesizer, even found its way into various synthesizer lexica. Lorenz, however, was by no means a classic electronics tinkerer. His technical skills were limited to soldering, as he admitted in a radio interview for HR3, the only interview he ever gave. Southland was created in 1984 and perfectly encapsulates the two facets that dominated German electronic music at that time: on the one hand, poppy, at times absurd tracks, informed by such pre-NDW (German new wave) musicians as Pyrolator; on the other hand more plangent, spherical music echoing Tangerine Dream and the like. His son Tim, thirteen then (now a member of Andreas Doraus live ensemble), can be heard speaking a few lines into a vocoder on "Strange Feelings," and later, as a graphic design student, Tim prepared artwork for his fathers releases. CD presented in digipak." - Bureau B.

Artist: MOEBIUS
Title: Tonspuren
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version, pressed on 180 gram vinyl. This is the first solo album by Dieter Moebius, recorded at Conny Planks studio and originally released in 1983 on Sky Records. By 1969 at the latest, Dieter Moebius was synonymous with the avant-garde electronic music scene in Germany. He and Hans-Joachim Roedelius formed Cluster, a seminal electronic/ambient duo, while Moebius was also a member of the so-called Krautrock supergroup Harmonia (with Michael Rother and Roedelius), as well as collaborating on various other projects with the likes of Brian Eno and Mani Neumeier from Guru Guru. Somehow, it took Moebius until 1983 to release his own solo debut album. Tonspuren is an album of minimalisms, miniatures and stringent form -- 10 consistently concise and precise pieces. Moebius develops tonal variations out of minimalistic, rhythmic, harmonic basic tracks, sometimes coming close to tangible melodies. Yet this is exactly the point at which he purposely steers clear of electronic pop criteria. Nevertheless, Tonspuren is a pop album, its radically stripped-down contents replenished with harmonious elements of prevalent popular music. Echoes of Cluster notwithstanding, the music of Tonspuren is a separate entity altogether. Moebius seems to be avoiding improvisation as the devil keeps his distance from holy water. Each piece is thoughtfully composed, as Moebius crafts his miniatures layer by layer. Spontaneous inaccuracies have no place here; noise escapades are nipped in the bud. Baroque, folklore and frivolity are not admitted into the studio when the red light is on. Thanks to Tonspuren, the keen listener now has the opportunity of direct comparison in his appraisal of the solo albums of Moebius, Roedelius and Rother. Tonspuren thus represents a vital piece of the Harmonia puzzle. Full color inner sleeve with liner notes by Asmus Tietchens." -Bureau B

Artist: MOEBIUS & BEERBOHM
Title: Blue Moon OST
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. By 1969 at the latest, Dieter Moebius was synonymous with the avant-garde electronic music scene in Germany. He and Hans-Joachim Roedelius formed Cluster, a seminal electronic/ambient duo, while Moebius was also a member of the so-called Krautrock supergroup Harmonia (with Michael Rother and Roedelius), as well as collaborating on various other projects with the likes of Brian Eno and Mani Neumeier from Guru Guru. This was the last solo album that Moebius delivered to Sky Records, originally released in 1986. Blue Moon was released at a time when electronically-created pop music was no longer perceived as exotic. It was new music, free of the ballast of the 1970s, minimalist and uncluttered. Moebius, a constant simplifier in the Cluster/Harmonia family, made a particular virtue of this simplicity on Blue Moon, resulting in 11 wonderfully measured miniatures, rhythmic, harmonic textures of exceptional aural transparency. Clarity, calm and an impression of unthreatening irreality run through all 11 pieces, which, to capture their full sense of musical and atmospheric development, would all need to be twice as long. Instead of which, regrettably, they break off abruptly, all too soon, all too often. Short isnt always sweet. What an epochal flight of fancy Blue Moon could have been, had it extended to a double album format. But Moebius, his wings clipped in the service of film music, needed, of course, to match his compositions to the length of each scene -- sometimes a blessing, other times a curse. Due to their soundtrack function, the 11 compositions on the album fell short of the glittering diamonds they could so easily have become, precious though they undoubtedly were. As previously on Tonspuren (BB 040CD/LP), Moebius structures his music with well defined, sharp contours, modestly elegant, simple yet rich in detail, thus never running the risk of lapsing into monotony. This is forceful electronic pop music and it works perfectly well without pictures. It has survived throughout the decades because Moebius -- much like his Harmonia colleagues, Hans-Joachim Roedelius and Michael Rother -- had formulated a musical language which, today, can be understood better than ever. Innersleeve with full-color photos and notes by Asmus Tietchens." -Bureau B

Artist: MOEBIUS & BEERBOHM
Title: Double Cut
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"In 1984, two years after their first album collaboration, Strange Music, Dieter Moebius and Gerd Beerbohm issued their second LP, Double Cut. It bore the same distinctive hallmarks as its predecessor, but this time around, the two musicians had simplified matters significantly. This was not simplification due to a lack of inspiration, however, but a masterful concentration on what really counts in pop music: rhythm. Today, any discussion of German electronic pop music of the 1970s and 1980s takes for granted that the origins of a whole range of future music movements can be traced back to this period. German groups anticipated punk and were producing proto-techno and ambient music long before these had entered the genre pool as recognized categories. A number of the protagonists from that era would become enduring worldwide legends. Others, such as Moebius and Beerbohm, have thus far been limited to the shelves of certain enthusiasts. Yet, as a precursor of prescient future music, Double Cut is a perfect specimen. The centerpiece of the album, the 22-minute "Doppelschnitt," can be tagged as proto-techno. Moebius and Beerbohm have grafted an endless stream of rhythmical electronic particles onto an ostinato bass and drum figure, fluttering to and fro like the lightest of shimmering veils. The utter and deliberate absence of any kind of melody makes it even easier to be carried away by rhythm to distant places. Double Cut is musical askesis of a formidably persuasive nature, avoiding energy-sapping meditative ballast and the anaemic contemplation of new sound academia. Double Cut is powerful, sensual pop music. Moebius never set foot in the studio with the aim of recording structured, premeditated compositions -- he rather more resembled a child in a sandpit. Beerbohm was a congenial partner in this respect, as he and Moebius bounced artistic ideas back and forth, surprising each other time and again with their musical caprioles. Beerbohms contribution to the pair of albums cannot be regarded too highly. And Moebius, the brilliant spark, had once again proved shrewd in the extreme by enlisting Beerbohm to record two albums with him. Liner notes by Asmus Tietchens." - Bureau B.

Artist: MOEBIUS & BEEROHM
Title: Strange Music
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version with liner notes by Asmus Tietchens. Bureau B reissues the first collaborative release by Dieter Moebius and Gerd Beerbohm, originally released by Sky Records in 1982. In the latter half of the 1970s, alongside their Cluster collaboration, Dieter Moebius and Hans-Joachim Roedelius embarked almost simultaneously on individual musical journeys. Roedelius focused primarily on solo projects, while Moebius preferred to engage with other musicians on equal terms. Strange Music -- as unimaginative as the title may first appear -- speaks volumes about where Moebius was coming from, artistically speaking. Moebius is a master of perspicuity, without ever oversimplifying or lapsing into banalization. Instead, he uncovers the rich variety inherent in the detail of minor variations. Moebius principles of pop music are drawn from three sources: the uncomplicated minimalism of the late 1960s, archaizing, instrumental rocknroll of the late 1950s and improvisation. Working with Gerd Beerbohm saw him combine these elements to create an exact representation of his understanding of contemporary pop music. Gerd Beerbohm turned out to be the perfect musical foil for Moebius, affording him free rein, in the very best sense of the expression, to bring his concept of pop music to life. While "unleashed" best describes his mindset, this should be equated with neither chaos nor arbitrariness. On the contrary, the only liberty Moebius took was to focus exclusively on his and Beerbohms musical visions, without feeling the need to consider any higher group concepts. This gave rise to a forceful, energized album, steering a clear course ahead, full of improvised ideas and unencumbered by frills or embellishments. Moebius und Beerbohm had well and truly arrived in the early 1980s, with the future clearly in their sights, most definitely not looking over their shoulders. It is impossible to ignore distant echoes of punk and new wave -- DIY, the "do it yourself" ethic had been common practice for the Harmonia family since the 1970s, recording with their own equipment, independent of the bigger studios. Liner notes by Asmus Tietchens." -Bureau B

Artist: MOEBIUS & BEEROHM
Title: Strange Music
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B reissues the first collaborative release by Dieter Moebius and Gerd Beerbohm, originally released by Sky Records in 1982. In the latter half of the 1970s, alongside their Cluster collaboration, Dieter Moebius and Hans-Joachim Roedelius embarked almost simultaneously on individual musical journeys. Roedelius focused primarily on solo projects, while Moebius preferred to engage with other musicians on equal terms. Strange Music -- as unimaginative as the title may first appear -- speaks volumes about where Moebius was coming from, artistically speaking. Moebius is a master of perspicuity, without ever oversimplifying or lapsing into banalization. Instead, he uncovers the rich variety inherent in the detail of minor variations. Moebius principles of pop music are drawn from three sources: the uncomplicated minimalism of the late 1960s, archaizing, instrumental rocknroll of the late 1950s and improvisation. Working with Gerd Beerbohm saw him combine these elements to create an exact representation of his understanding of contemporary pop music. Gerd Beerbohm turned out to be the perfect musical foil for Moebius, affording him free rein, in the very best sense of the expression, to bring his concept of pop music to life. While "unleashed" best describes his mindset, this should be equated with neither chaos nor arbitrariness. On the contrary, the only liberty Moebius took was to focus exclusively on his and Beerbohms musical visions, without feeling the need to consider any higher group concepts. This gave rise to a forceful, energized album, steering a clear course ahead, full of improvised ideas and unencumbered by frills or embellishments. Moebius und Beerbohm had well and truly arrived in the early 1980s, with the future clearly in their sights, most definitely not looking over their shoulders. It is impossible to ignore distant echoes of punk and new wave -- DIY, the "do it yourself" ethic had been common practice for the Harmonia family since the 1970s, recording with their own equipment, independent of the bigger studios. Liner notes by Asmus Tietchens." -Bureau B

Artist: MOEBIUS & PLANK
Title: En Route
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. En Route was created in 1986, when the era of analog synths and rhythm machines seemed to be drawing to a close. Drum computers, samplers and digital instruments such as the Synclavier and Fairlight CMS would shape the immediate future of electronic music. Naturally, these wonderful machines formed a part of Conny Planks arsenal and were used extensively by him and Dieter Moebius. The duo explored the new devices with their inimitable, cheerful sense of abandon, but were wise enough not to rely on them entirely. Analog instruments resurface time and again, such as trumpet (!), guitar and other sonic sources which are less easy to identify. Nor had Moebius packed his analog synthesizers away in mothballs. Rhythmic throughout, the music is wholly free of the darkness which characterized the fashionable industrial or new wave scenes of the period. A tendency to descend into enraptured sonic abstraction is similarly absent. The pieces almost sound as if they are the product of real-time improvisation -- airy and self-evident, ballast-free and without unnecessary embellishment. En Route is hip electronic music, yet it steers well clear of the mainstream. The fact that three tracks were remixed for a commission by Dave Stewart (Eurythmics) did nothing to change that. Stewart was planning a film project (which never came to fruition) and hired producer Manu Guiot, who reshaped the tracks together with Dieter Moebius shortly before release in Connys studio. Moebius and Plank were en route, "on the way," so to speak. Sadly, it was to be the last in a sequence of five albums they recorded and released together. Conceived in 1983, Ludwigs Law was the fourth album in chronological terms but only appeared in 1998. Debilitated by severe illness, Plank was no longer able to mix the recordings himself. His studio colleague Bruno Gebhard took on the task, together with Moebius. Shortly afterwards, in 1987, Conny Plank died. The common path of the two friends was now at an end. But En Route was certainly not intended to mark the conclusion of their lengthy collaboration. For how much of the future, how much optimism is implicit in the certitude of being en route?" -Asmus Tietchens.

Artist: MOEBIUS & PLANK
Title: Material
Format: LP
Label: Bureau B
Country: Germany
Price: $18.00
"On their second album Material, originally released on Sky Records in 1981, Moebius & Plank ventured far, far away from the double coordinates of the Harmonia world and pop music cosmos. Amazingly, they did not find themselves floating in space, but made an exemplary landing, avoiding getting caught between a rock and a hard place. Material saw them generate a form of genre-busting electronic music, more radical than anything one might have expected to come out of Germany, not even from the likes of Cluster or Harmonia. Having said that, one should add that the album is in no way a copy of the new wave and industrial scenes that were enjoying such prominence at the time. Material is, in the best sense of the word, without style, that is to say, it cannot be aligned with any of the conventional styles available. On their two first albums, Moebius & Plank take up their place in a lengthy list of musicians and composers who, from roughly the end of the 1970s, gave up caring about which stylistic category their music might belong to, no longer looking upon experimentation as a strategy of reckless abandon, but as a perfectly normal course of action. 180 gram vinyl LP housed in a printed inner sleeve with full-color photos and notes by Asmus Tietchens." -Bureau B.

Artist: MOEBIUS & PLANK
Title: Rastakraut Pasta
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Dieter Moebius and Conny Plank got to know each other through their work on Clusters 1971 album and remained close friends until Planks death in 1987. They made a congenial pair as musicians, as amply demonstrated by their first album as a duo, Rastakraut Pasta, originally released on Sky Records in 1980. On this album, drums, electric guitars and bass are the cornerstones of every track; they provide the framework to which Moebius adds fresh color and life with his synthesizers. Thanks to the technical merits of Planks studio, the keyboards sound barely distinguishable from one another. No samples -- strictly analog from start to finish. Holger Czukay (Can) plays bass on three pieces and his consummate professionalism sees his virtuosity finely-tuned to the concept of Moebius and Plank. Moebius has a predilection for surrealist cascades of noise, heard throughout the album, grotesque yet playful. An enigmatic form of pop music came into being on this LP, a breakneck, elegant mix of diverse elements: a touch of Krautrock, some avant-garde pop, new German electronica, even sporadic echoes of reggae. 180 gram vinyl LP housed in a printed inner sleeve with full-color photos and notes by Asmus Tietchens." -Bureau B

Artist: MOEBIUS & RENZIEHAUSEN
Title: Ersatz
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"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 and Renziehausen, 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 theater. Common to each of the pieces is a prevailing mood of surrealism: Moebius appears to have an unlimited menagerie of imaginary sonic creatures at his disposal, introduced to the audience in a clearly discernible framework of dramaturgy. Their actions are utterly unpredictable, the plot develops in the listeners head. Renziehausen constructs the space: moving scenery to accommodate wonderful transparency and depth, as warm, bright light affords a clear view of each and every delectable detail. Ersatz is music at its most pictorial, far removed from cheap, programmed music. 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. Soundscapes, perhaps, of some imitation paradise? Rather than measure this album by a musical yardstick then, one ought to evaluate it as one of the great discoveries in its own right." -Asmus Tietchens.

Artist: MOEBIUS & TIETCHENS
Title: S/T
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"With Asmus Tietchens and Dieter Moebius, two artists counting among the greats of German avant-garde electronic music have come together. Both have been active for well over 30 years: Moebius (since 1970) as a member of Kluster/Cluster and Harmonia, as well as solo and in numerous collaborations (Brian Eno, Mani Neumeier, Conny Plank, Mayo Thompson and many more), and Tietchens (since 1979) almost exclusively as a solo artist, beginning in the fields of electronic music and musique concrète and later mainly in the realm of abstract music. Moebius + Tietchens is now their first collaboration in 32 years. With this album, Dieter Moebius and Asmus Tietchens fulfill a promise that they made 35 years ago. That is, in 1976, when the five musicians of Liliental completed the recordings for their eponymous album and again scattered to the winds, Moebius called out to Tietchens from the already-moving car: "We have to make a record together sometime." At least that is the report of an ear-witness. Whether or not its true... In any case, both decided in 2011 to record the album which is now released. Moebius (Cluster, Harmonia), since the early years of Cluster, has neither lost his curiosity nor his eagerness for experimentation. On the contrary: he has downright cultivated them. Tietchens is not only a true aficionado of Clusters music and friend of the duo, but has also released countless albums of electronic music and musique concrète since the 1980s -- like Cluster, initially on Sky Records -- then later only in the field of industrial and abstract music. Their album may come from out of the blue, but the large amount of overlap in the music of both artists made it a forgone conclusion to finally make good on the aforementioned promise. Thirteen pieces carry the album. These are thirteen ideas that could hardly be heterogeneous -- no two pieces are similar. From the rough sketch to densely-gripping rhythms, one can clearly hear just what these two old masters of electronic music have in their arsenals. This is not a result of the routine that comes with so many years of experience, nor a thin portion of tired old recipes for success. Other than a few faint echoes of a bygone era (perhaps as a sentimental reminder), Moebius + Tietchens is an album that could only emerge from the here and now. It is contemporary, new music." -Bureau B.

Artist: MOEBIUS & TIETCHENS
Title: s/t
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $26.00
"With Asmus Tietchens and Dieter Moebius, two artists counting among the greats of German avant-garde electronic music have come together. Both have been active for well over 30 years: Moebius (since 1970) as a member of Kluster/Cluster and Harmonia, as well as solo and in numerous collaborations (Brian Eno, Mani Neumeier, Conny Plank, Mayo Thompson and many more), and Tietchens (since 1979) almost exclusively as a solo artist, beginning in the fields of electronic music and musique concrète and later mainly in the realm of abstract music. Moebius + Tietchens is now their first collaboration in 32 years. With this album, Dieter Moebius and Asmus Tietchens fulfill a promise that they made 35 years ago. That is, in 1976, when the five musicians of Liliental completed the recordings for their eponymous album and again scattered to the winds, Moebius called out to Tietchens from the already-moving car: "We have to make a record together sometime." At least that is the report of an ear-witness. Whether or not its true... In any case, both decided in 2011 to record the album which is now released. Moebius (Cluster, Harmonia), since the early years of Cluster, has neither lost his curiosity nor his eagerness for experimentation. On the contrary: he has downright cultivated them. Tietchens is not only a true aficionado of Clusters music and friend of the duo, but has also released countless albums of electronic music and musique concrète since the 1980s -- like Cluster, initially on Sky Records -- then later only in the field of industrial and abstract music. Their album may come from out of the blue, but the large amount of overlap in the music of both artists made it a forgone conclusion to finally make good on the aforementioned promise. Thirteen pieces carry the album. These are thirteen ideas that could hardly be heterogeneous -- no two pieces are similar. From the rough sketch to densely-gripping rhythms, one can clearly hear just what these two old masters of electronic music have in their arsenals. This is not a result of the routine that comes with so many years of experience, nor a thin portion of tired old recipes for success. Other than a few faint echoes of a bygone era (perhaps as a sentimental reminder), Moebius + Tietchens is an album that could only emerge from the here and now. It is contemporary, new music." -Bureau B.

Artist: MOEBIUS & TIETCHENS/JUNIOR ELECTRONICS
Title: Mr. Mercator/Herrlichkeit/Tiefland
Format: 12"
Label: Bureau B
Country: Germany
Price: $12.00
"Dieter Moebius (Cluster,Harmonia) and Asmus Tietchens share an outtake of their album Moebius & Tietchens with us for this Record Store Day exclusive 12". Joe Watson(Stereolab) aka Junior Electronics recorded a new song and reworked the Moebius & Tietchens song "Herrlichkeit" by adding vocal overdubs." - Bureau B.

Artist: MOEBIUS PLANK NEUMEIER
Title: Zero Set
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"2015 repress; LP version on 180 gram vinyl. In 1983, Dieter Moebius(Cluster) and legendary producer Conny Plank teamed up for the third time, resulting in the Zero Set project, originally released on Sky Records. On this occasion, they were backed up by one of the best drummers on the German rock scene: Mani Neumeier of Guru Guru. Plank, usually more of a background figure as producer, takes an equal share of the limelight alongside the musicians. His supermodern studio is brought into play like an instrument in its own right; Plank explores the full range of audio editing, pushing recording techniques to the limit to achieve maximum brilliance and plasticity. Neumeier uses all of his many years of experience as a drummer, demonstrating the precision and stamina of a drum machine, just infinitely livelier and more inventive. And finally, to Moebius: always one of the patriarchs of German electronic music, a creator of the most bizarre sound happenings, yet never sounding forced or arbitrary. On the contrary, he consistently worked within the context of the tracks themselves and their relationship to each other. The music on Zero Set flows both smoothly and energetically. An important and mystifying chapter in the legacy of Krautrock/Kosmische Musik and a historic moment in German electronic music." - Bureau B.

Artist: MOEBIUS, DIETER
Title: Blotch
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"First-ever vinyl edition. Dieter Moebius -- half of the legendary duo Cluster and the godfather of electronic krautrock -- passed away in the summer of 2015. In 2016, Bureau B begins rereleasing his final four solo albums, starting with his 1999 albumBlotch. Moebiuss most famous collaboration is, of course, the "long-term project" Cluster with Hans-Joachim Roedelius, which existed from 1969 until 2010 (with some lengthy breaks). The duo existed in changing formations involving such legendary colleagues as Conny Plank,Michael Rother, and Brian Eno. Yet solo albums remained an exception. In 1983 Moebius released his first, titled Tonspuren (BB 040CD), which was followed a full 16 years later by his second solo album, Blotch. Typical for an oeuvre characterized by understatement, Moebius named his album after a mere dab of paint. Nevertheless, this record marks a turning point in his work. From this album onward, up until his death in the summer of 2015, he focused increasingly on his solo work, enabling audiences to examine his music separately and microscopically. Blotch is far removed from the ease that definesTonspuren. Its tracks feel like loop-based sketches, which stoically delve into experimental sonic atmospheres -- seasoned with snippets of speech -- that hypnotize the listener with the smallest of variations and embellishments. The surprising 11-minute track "Kohlzug" sticks out, with a no wave saxophone that suggests a decelerated version of Ted Miltons jazz-punk. Sonically, Blotch is clearly a product of its time; Moebius used an E-mu Orbit 9090 sound module and the then-current Korg Prophecy solo synth. This pioneering digital synthesizer was among the first to provide various algorithms and modes of synthesis to mimic the sounds of analog synthesizers in detail. Moebius recorded his tracks with a Yamaha eight-track recorder. The mastering was completed by the renowned American composer and ambient veteran Tim Story at his studio in Ohio. Story, who also produced Clusters final album, Qua, in 2009, himself contributed some atmospheric highlights using a prepared piano, a heavily processed steel guitar, and a piano miniature on closer "Balistory." Blotch is a turning point in the work of Dieter Moebius, and his late solo work holds some very exciting releases in store. While its predecessor, Tonspuren, was marked by an erratic lightness and an exhilarating sweetness in the elektrokraut style of NEU! and Harmonia, Blotch marks a late revival of the somewhat more oblique and experimental early work of Cluster.”

Artist: MOEBIUS, DIETER
Title: Ding
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Dieter Moebius - one half of the legendary duo Cluster and the godfather of electronic krautrock - passed away in the summer of 2015. Bureau B are reissuing his final four solo albums. Following on from Blotch (BB 209CD/LP) and Nurton (BB 210CD/LP), reissued in 2016, Kram (BB 258CD/LP) and Ding now complete the quartet. Liner notes were penned by Moebiuss friend, the U.S. composer, producer, and musician Tim Story. Ding was originally released in 2011.

Tim Story on Ding: "If Dieter Moebius previous album Kram was an irreverent mélange of bright synthetic textures, 2011s Ding might be considered Moebis industrial album. There is a cyclical, mechanical feel to many of the pieces here -- but this is light industry, not heavy machinery. Small, discrete contraptions churn out curious objects as the listener strolls the factory floor, the combinations evolving as perspectives shift with each step taken. Moebi made extensive use of a relatively portable sample recorder/looper during the creation of Ding, and the freedom to capture random bits of sound in the natural (or unnatural) world must have been inspiring. These organic ambiences might have evoked a terrain that feels familiar, except of course that this is a Moebius album. Angular rhythms, disembodied voices, repeated loops of audio debris all combine to forge a facsimile of reality that is wonderfully peculiar. The earthy environments of Ding give it a remarkable depth of field, and Moebi masterfully allows a great deal of transparency in the mixes. The smallest of musical cues -- the alternating, faraway chords which float through Bone, for example -- are sufficient to tie the seemingly disparate elements together into a satisfying, truly musical experience. The strands of natural, mechanical, and electronic sounds are so deftly juxtaposed that music never quite overwhelms noise, and the clamor is never allowed to stifle Dings strange poetry. Altogether, Ding feels like something of a small revelation -- theres liberation in Moebis willful escape from a sound palette confined solely to his synthesizers. If the notion of manipulated, overlapping field recordings sounds dry and abstract, Ding is anything but. In places, the loping, syncopated pulses suggest the polyrhythms of African music, even funk -- but its a state which never quite materializes because the rhythm loops are almost always trimmed slightly too long or too short, deliberately interrupting the groove that otherwise could have taken hold. So its music you might conceivably dance to, if your legs arent quite the same length. Mentally, its much easier to dance with Ding. Shot through with Moebis humor and extraordinary imagination, its provocative choreography of music and noise remains one of his most seductive." - Bureau B.

Artist: MOEBIUS, DIETER
Title: Kram
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Dieter Moebius - one half of the legendary duo Cluster and the godfather of electronic krautrock - passed away in the summer of 2015. Bureau B are reissuing his final four solo albums. Following on from Blotch (BB 209CD/LP) and Nurton (BB 210CD/LP), reissued in 2016, Kram and Ding (BB 259CD/LP) now complete the quartet. Liner notes were penned by Moebiuss friend, the U.S. composer, producer, and musician Tim Story. Kram was originally released in 2009."

Tim Story on Kram: "Recorded in 2008, Krams playfully disjointed rhythms and shiny plastic surfaces give us just a glimpse perhaps of Moebis own state of mind -- content, at ease, and happy to be working on music. With small mobile recording setups in Berlin and Majorca where he and Irene split their time, he recorded when the muse struck (although he would hate the word muse). In English, kram means stuff and the title is fitting. Synthetic, toy-like sounds skitter across the soundstage, colliding with those unlikely rhythms, and modulating in real time with Moebis unmistakable hand on the controls. Funny, warped, joyfully cluttered, Kram unapologetically embraces its disposable sounds and sly humor. Imbued throughout with his singular conception of music and sound, its arguably Moebius most cheerful and mischievous album, and its all the richer for it. Moebi was a champion of the everyday -- self-effacing in both his life and his music. In Kram, he elevates the commonplace, then promptly subverts the touchstones which make it familiar. The lack of overt emotionality in his work sometimes obscures the humanity and depth thats always there, lurking behind the fabricated surfaces. Kram is a perfect example. Though he would be quick to dismiss it, the warmth of Moebis personality drifts indelibly through it."

Artist: MOEBIUS, DIETER
Title: Nurton
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“First-ever vinyl edition. On the second album of his late solo work, 2006s Nurton, krautrock legend Dieter Moebius (1944-2015) searches for flaws and uses them as a creative impulse. As usual, he blithely ignores any mainstream expectations. In science, an experiment is defined as an attempt to methodically gain information by systematically varying parameters. The results then confirm or refute the hypothesis or the model of the experiment. In art, however, confirmation is not of interest. Far more exciting are the flaws. They can lead to completely unexpected results or to new phenomena. In science, such moments are called discoveries. In this sense, Nurton is experimental music. One can observe Dieter Moebius on his quest for inspiration through flaws; rather than sonically imitating the instruments of a band lineup or following a conventional song structure, he departs from such rigid approaches. He gladly makes use of noises and otherness to create variations, examine the results, and sculpt his songs. In doing so, he allows the listener to participate in his quest to harness unexpected flaws and to share in his frequent discovery of an inspiring sonic event found off the beaten path. Many tracks on Nurton commence with noise-like loops. Moebius then adds levels of sound, layer by layer. Threatening, industrial-sounding squeaking; wheezing; and sluggish pounding are joined by playful digital lead sounds or provided with a foundation of meditative drone sounds. And almost imperceptibly, the piece lures one into a supremely comforting hypnosis. On Nurton, Moebius demonstrates his true greatness; from a seemingly arbitrary initial loop, he creates hypnotic experimental atmospheres -- linear, without escalation, stoic, with clarity, and to hypnotic effect. In doing so, Moebius uses bolder and more experimental lead sounds than on his previous solo album Blotch, from 1999 (BB 209CD/LP). The sonic impression is more diverse and feels reconciled with the sounds of digital synthesis. Only the last track of the album, fittingly titled "Das Letzte" ("The Last"), provides a preview of the musical development that would characterize Moebiuss solo releases to follow.” - Bureau B.

Artist: MOEBIUS/NEUMEIER/ENGLER
Title: Another Other Places
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $27.00
"Pressed on 180 gram vinyl. 17 years after Other Places, a sophomore album from these innovative musicians. Dieter Moebius (Kluster, Cluster, Harmonia), Mani Neumeier (Guru Guru) and Jürgen Engler (Male, Die Krupps) got back together to carry on exactly where they left off in the 1990s. The long break has done no harm to their latest music, on the contrary -- as is clearly audible -- it has taken them to another level. The way they react to each other as they improvise, the powerful, subtle rhythms and the use of digital sources, all the way to completely abstract sound collages, amount to a quantum leap as seldom heard in electronic pop music. Another Other Places does not reheat old recipes of success. Moebius, Neumeier and Engler create something new without straying from their distinct styles, nor do they pander to the zeitgeist. This album simply brings to fruition something which has been ripening in their musician personalities for a long while. And again, the result does not sound artificial nor too cerebral. Like its predecessor, Another Other Places is characterized by an effortless lightness without once sounding banal. No sign of dull routine, either, a potential pitfall for experienced musicians. Instead, the listener can delight in musical and sonic surprises minute by minute. There is no space in the eccentric triumvirates cosmos for hand-me-down patterns or musical stencils. So, the album is an adventure, of course, which might be a little confusing at first, but if you are open to the journey, you will find yourself able to share the musicians joy of discovery. Perhaps Moebius, Neumeier and Engler will record a third, even more adventurous album one day. Lets hope so." - Asmus Tietchens.

Artist: MOEBIUS/NEUMEIER/ENGLER
Title: Other Places
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. Improvisation was and still is the magic word in jazz and live electronica. Transforming spontaneous ideas in real time, listening and reacting immediately to one another -- these are the signs of truly vibrant collaboration. If the musicians can also master the tightrope between artistic freedom, discipline and virtuosity, then nothing else can really go wrong. The session is destined for success. Other Places was recorded and mixed in four days. Three musicians: Dieter Moebius, Mani Neumeier and Jürgen Engler, and sound engineer Chris Lietz, their hearts and souls beating as one -- as they must have done for them to score a bulls eye like this. All the more remarkable, considering how different their musical backgrounds were. The unusual pulse of the music is a combination of synthetic rhythm patterns and Mani Neumeiers dexterous drumming. This interaction alone is enough to spark an almost magical, ritual atmosphere. But there is more: Moebius and Engler develop a fascinating electronic world on this rhythmic film, cacophonous on the one hand, harmonious on the other. Sonic spectra which swathe the listener in shimmering clouds and coruscating crystals. Our aim is to create an atmosphere, as it says in the liner notes of the original 1996 release. And what an atmosphere! Dark, but not murky, outlandish without being weird. Other Places is a terror-free secret, an aural experience par excellence, one that melts in your mouth. Let us remind ourselves once again: this is improvised music, created in real time. Four days of genuine inspiration." - Asmus Tietchens.

Artist: MOEBIUS/STORY/LEIDECKER
Title: Snowghost Pieces
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $27.00
Pressed on 180 gram vinyl. Includes a CD copy of the album. "Many brightly shining planets orbit the twin central star of Cluster (Hans-Joachim Roedelius and Dieter Moebius). To be clear: as soloists Roedelius and Moebius have long since worked with all kinds of musicians whose congenial contributions add even more color to the polychromatic Cluster world. Yet no matter how distinctly their guests creativity is expressed, Clusters character is consistently audible. Snowghost Pieces very much fits the pattern: Tim Story, a distinguished electronic musician who had previous experience of working with Roedelius (the Lunz project, for example) and Jon Leidecker (Negativland, People Like Us), one of Americas leading sonic pioneers using his Wobbly pseudonym, recorded an album of extraordinary complexity together with Moebius. All 11 pieces on the CD are rooted in hypnotic rhythm but are swept along in a bonanza of bizarre sound and noise which almost overwhelms the listener with information overload. Snowghost Pieces is no place for minimalism. On the contrary, new musical surprises come thick and fast, a blur of electronic and acoustic sounds. Moebius, Story, and Leidecker always keep harmony within their grasp, sometimes even dropping in little melodies; there is a deeply humane quality to their improvised interaction, never descending into noisy abstraction. The three musicians ensconced themselves in Brett Allens exceptionally professional studio, high in the outlandish mountains of the state of Montana. The intimate studio atmosphere and surreal surroundings undoubtedly played their part in the creation of this fantastical music, the players availing themselves of abundant technical possibilities in the most brilliant and empathetic fashion. Snowghost Pieces is by no means a Cluster album, but to revisit the image at the top of the page, the distant reflection of the central star shone over the album recording sessions, radiating warmth for a whole week. The planets continue to circle in space." --Asmus Tietchens

Artist: PALAIS SCHAUMBURG
Title: Palais Schaumburg
Format: 2CD
Label: Bureau B
Country: Germany
Price: $23.00
"The influential German post-punk electronic pop band Palais Schaumburg has reunited in the classic line-up. Since its release in 1981, their debut album has remained in a league of its own: fleet-footed and peculiar, abstract and pop, amateurish and savvy, it showed real alternatives to the then-pervasive crude search for identity found in the "new German wave." The band, which consisted entirely of divergent personalities, has reunited in this formation to rediscover their common ground, further develop, and to perform live. In this post-sampling era, with the current, dynamic changes in the creation and reception of music, their statement has lost none of its fascination. Anyone who sees and hears the combination of idiosyncratic bass riffs (Blunck), bizarre yet catchy rhythms (Hertwig, Blunck), Fehlmanns shrill horn and synthesizer fanfares, and Hillers seemingly atonal staccato guitar work and oblique lyrical conglomerates, will immediately comprehend the influence of this band. In addition to the actual album, this reissue includes a second CD/LP containing all the pieces that the band recorded prior to their debut album (all of them now available for the first time on CD), and a previously-unreleased recording of a concert in Holland. A lavish booklet includes rare photographs and liner notes by Chris Bohn, editor of The Wire. " - Bureau B

Artist: PALAIS SCHAUMBURG
Title: s/t
Format: Double LP/CD/7
Label: Bureau B
Country: Germany
Price: $33.00
"The definitive reissue of influential German post-punk electronic pop band Palais Schaumburg: in addition to the actual album, this reissue includes a second LP containing all the pieces that the band recorded prior to their debut album, and a previously-unreleased recording of a concert in Holland. A lavish booklet includes rare photographs and liner notes by Chris Bohn, editor of The Wire. In 1980, two students met at the Hamburg Art Academy: Thomas Fehlmann, who appreciated art and music and wanted to connect them, and the musician Holger Hiller, who had escaped the fractious Hamburg alternative scene, preferring the art schools Conservatory of Music. The spirit of the early New German Wave blew through the country, the first independent labels vied for innovative artists, and the West German post-punk scene began to take shape. Hiller and Fehlmann brought in FM Einheit (from the band Abwärts) on drums and the Californian Chris Lunch on bass. But only shortly after the first single, with Timo Bluncks bass riffs and the adept drumming of Ralf Hertwig, did the band establish its classic line-up. Palais Schaumburg played numerous gigs in this line-up and recorded a second single -- then on the indie label Zick Zack. The recording of the album was enhanced by the British producer David Cunningham (Flying Lizards). Soon the music giant Phonogram came along waving a contract. Though it was predictable that the album would not exactly be a commercial success, its special position in German pop music soon became clear. The attention the album received was considerable, given the "awkwardness" of the music. These days, alongside the central works of the famous Krautrock bands, it is one of the most sought-after albums of German avant-garde music internationally. The limited edition 180 gram vinyl double LP comes with a CD version of the album and contains a 7" single with four tracks from a concert in Hamburg where people from the audience -- among them Andreas Dorau -- perform their own versions accompanied by the band." - Bureau B.

Artist: PALAIS SCHAUMBURG
Title: Wir Bauen Eine Neue Stadt/Madonna
Format: 7"
Label: Bureau B
Country: Germany
Price: $16.00
"Officially licensed exact repro of this 1982 single, originally issued on Phonogram. This is the internationally most successful single of Holger Hillers and Thomas Fehlmanns early 80s avant-garde pop band, Palais Schaumburg. David Cunningham produced this cold, minimalistic elektro-funk combined with Dadaesque lyrics in 1981."-Bureau B

Artist: PHANTOM BAND
Title: Freedom Of Speech
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version, 180 gram vinyl. Originally released in 1981 on Sky Records, Bureau B reissues the second album by Phantom Band, a Cologne combo assembled by Can drummer Jaki Liebezeit. By this point in the bands history, ex-Can bass player Rosko Gee (earlier Steve Winwoods bassist in Traffic) had left the band. The surviving quartet managed without a bass for the most part (or substituted a keyboard) and invited spoken-word performer Sheldon Ancel to step up to the microphone. And while the debut album revealed many Caribbean or African influences and a generally positive frame of mind, Freedom Of Speech is a somewhat darker avant-garde rock manifesto, interspersed with individual dub or reggae pieces. Regular Phantom Band members alongside Jaki Liebezeit included keyboarder Helmut Zerlett, known to a wider television audience in Germany through the Harald Schmidt Show, percussionist Olek Gelba and guitarist Dominik von Senger, all drawn from the deep pool of Cologne musical talent which has given rise to so many projects over the past thirty years: Dunkelziffer, Damo Suzuki Band, Unknown Cases ("Masimba Bele"), Club Off Chaos, and Trance Groove, to name just a few. Printed inner sleeve features notes by Asmus Tietchens." -Bureau B

Artist: PHANTOM BAND
Title: S/T
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version, 180 gram vinyl. Originally released in 1980 on Sky Records, Bureau B reissues the debut album by Phantom Band, a Cologne combo assembled by Can drummer Jaki Liebezeit. In spite of continuing in the vein of the last three Can albums, the Phantom Band (recording three albums themselves) remained unknown to many who would count themselves fans of Can. All of their albums are quite different from each other, even though there was just a single change in personnel: while ex-Can bass player Rosko Gee (earlier Steve Winwoods bassist in Traffic, now with the Helmut Zerlett Band) played a significant part in both the music, vocals and the production of the first, he was absent from the next. Featured heavily here is Jaki Liebezeits inimitable monotone polyrhythmic drumming and the Phantom Bands predilection for hypnotic (Jamaican) grooves. Regular Phantom Band members alongside Jaki Liebezeit included keyboarder Helmut Zerlett, known to a wider television audience in Germany through the Harald Schmidt Show, percussionist Olek Gelba and guitarist Dominik von Senger, all drawn from the deep pool of Cologne musical talent which has given rise to so many projects over the past thirty years: Dunkelziffer, Damo Suzuki Band, Unknown Cases ("Masimba Bele"), Club Off Chaos, and Trance Groove, to name just a few. Printed inner sleeve features comments by Jaki Liebezeit, Helmut Zerlett, Dominik von Senger and Asmus Tietchens, bringing to life the creation and unique chemistry of the Phantom Band. Mixed by Conny Plank, guest appearance by Holger Czukay." -Bureau B

Artist: POPULARE MECHANIK
Title: Kollektion 03: Populäre Mechanik Compiled by Holger Hiller
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Bureau B presents the third release in its Kollektion series, a volume highlighting the music of Populäre Mechanik, the 1980s post-punk/jazz project of Ton Steine Scherben founder Wolfgang Seidel. Seidel describes the development of Populäre Mechanik after his departure from Ton Steine Scherben: "The music of Ton Steine Scherben soon lost its fascination for me, so before long I quit the band. I was far more intrigued by the music performance club Zodiak Free Arts Lab run by Beuys student Conrad Schnitzler. The Zodiak had one white room and an empty black room, the latter used for concerts. And what concerts they were! A poster announced: Totally free music. Everyone plays. Anyone plays. Everyone can do it.... I teamed up with Schnitzler, but there was no room for a drum kit in his little studio. Instead, I started playing around with synthesizers and transposed the rhythms I had played on drums, prompting Schnitzler to nickname me Sequenza. As the years passed by, however, I started to miss the drums, so in the late 1970s I replied to a small ad and found a few musicians roughly the same age as me. Our stories were similar, having begun with rock music in the 1960s. We were not the kind of folk who wallowed in nostalgia, having grown disenchanted with the direction rock had taken. Rock was clearly developing into a soundtrack for squares. Punk was far more attractive to us. It reminded us of the 1960s, rather to the annoyance of the punks. Still, we maintained a certain distance. We shared punks dislike of the way rock and roll had developed, but beer-fuelled nihilism was not our style. Devo and XTC were the kind of bands we really got excited about. And there were also jazz musicians who wanted away from the entertainment circuit for sophisticates. These two ingredients blended into the music of Populäre Mechanik... The bands strategy for resisting assimilation into any scene was the creation of a cassette label -- allowing us to release our music quickly and cheaply. With a 4-track tape recorder and a healthy appetite for experimentation, we jammed endlessly ages before selecting the most interesting recordings." This collection, curated by Palais Schaumburg founder Holger Hiller, includes tracks from two Populäre Mechanik cassettes from the early 1980s, never before available on CD or vinyl. The accompanying booklet includes Hillers interview with Seidel, in which they discuss the function of rock and pop music over the past 45 years." - Bureau B.

Artist: POPULARE MECHANIK
Title: Kollektion 03: Populäre Mechanik Compiled by Holger Hiller
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Bureau B presents the third release in its Kollektion series, a volume highlighting the music of Populäre Mechanik, the 1980s post-punk/jazz project of Ton Steine Scherben founder Wolfgang Seidel. Seidel describes the development of Populäre Mechanik after his departure from Ton Steine Scherben: "The music of Ton Steine Scherben soon lost its fascination for me, so before long I quit the band. I was far more intrigued by the music performance club Zodiak Free Arts Lab run by Beuys student Conrad Schnitzler. The Zodiak had one white room and an empty black room, the latter used for concerts. And what concerts they were! A poster announced: Totally free music. Everyone plays. Anyone plays. Everyone can do it.... I teamed up with Schnitzler, but there was no room for a drum kit in his little studio. Instead, I started playing around with synthesizers and transposed the rhythms I had played on drums, prompting Schnitzler to nickname me Sequenza. As the years passed by, however, I started to miss the drums, so in the late 1970s I replied to a small ad and found a few musicians roughly the same age as me. Our stories were similar, having begun with rock music in the 1960s. We were not the kind of folk who wallowed in nostalgia, having grown disenchanted with the direction rock had taken. Rock was clearly developing into a soundtrack for squares. Punk was far more attractive to us. It reminded us of the 1960s, rather to the annoyance of the punks. Still, we maintained a certain distance. We shared punks dislike of the way rock and roll had developed, but beer-fuelled nihilism was not our style. Devo and XTC were the kind of bands we really got excited about. And there were also jazz musicians who wanted away from the entertainment circuit for sophisticates. These two ingredients blended into the music of Populäre Mechanik... The bands strategy for resisting assimilation into any scene was the creation of a cassette label -- allowing us to release our music quickly and cheaply. With a 4-track tape recorder and a healthy appetite for experimentation, we jammed endlessly ages before selecting the most interesting recordings." This collection, curated by Palais Schaumburg founder Holger Hiller, includes tracks from two Populäre Mechanik cassettes from the early 1980s, never before available on CD or vinyl. The accompanying booklet includes Hillers interview with Seidel, in which they discuss the function of rock and pop music over the past 45 years." - Bureau B.

Artist: PYROLATOR
Title: Ausland
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Just two years separate Pyrolators 1979 debut Inland and the 1981 album Ausland. Nevertheless, they could hardly be more different from one another. If Inland reflects the industrial decay and politically-explosive atmosphere of 1977 and the years thereafter in the Federal Republic of Germany, then Ausland is a buoyant, playful and yet groundbreaking pop album. There had been some significant developments since 1979. The Ata Tak label, which Pyrolator had co-founded, had hit a rich vein of form with the debut album by Der Plan (Pyrolator was also a band member), Andreas Doraus hit single "Fred Vom Jupiter" and Holger Hillers debut single. Pyrolator made his first trip to the USA, travelling the land from east to west over a period of three months. This all paved the way for the production of Ausland and pointed the way ahead for the Ata Tak label as well. On the West coast, Pyrolator met up with the Los Angeles Free Music Society (LAFMS), a collective in the process of exploring the frontiers between noise and industrial on the one hand and easy listening on the other. It was the influence of such free spirits which opened up the Ata Tak world and that of Pyrolator to "Schlager" and its American equivalent, easy listening. This mix of electronic elements and supposedly left-field pop music of times past runs through the Ata-Tak oeuvre and, with the benefit of hindsight, can be identified as the labels trademark. A further difference to Inland is that a long list of musicians participated in the Ausland recordings. In the USA, Pyrolator played together with designer Chris Lunch and his brother as support act for the likes of DNA and X. This moved Pyrolator to decide that he would not produce his next album alone, but with other musicians and technicians. With the help of the genius Werner Lambertz, inventor of "Brontologik," a forerunner of midi systems, and Ata Tak and Der Plan cohort Frank Fenstermacher, Pyrolator recorded the backing tracks on which other musicians would subsequently play their overdubs. The critics were in agreement when Ausland was released. From the progressive Sounds to the rather more traditional Musikexpress, all the way to the British New Musical Express (NME), the album met with universal praise. NME heralded Pyrolator as a "great pioneer" and quite right, too. He is still a pioneer today." - Bureau B.

Artist: PYROLATOR
Title: Inland
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pyrolators Inland (originally released in 1979) provides musical commentary on the late 70s in West Germany, with its undercurrent of paranoia and violence. Inland is one of the most radical, modern and unconciliatory albums of its, or any other, time. The cover for Inland illustrates this atmosphere: tones of grey and brown instead of 70s bliss. The political situation in West Germany is at its most volatile. The war between the Rote Armee Fraktion (RAF) and the State escalated two years before. The spirit of departure which characterized the early years of government by Willy Brandt and the socialist-liberal coalition, dissolved in the so-called "years of lead." Taking part in a demonstration against occupational bans could lead to the very same, and the chances of falling into a terrorist manhunt or staring a gun in the face were not so slim, particularly for young people. Pyrolators aim was to make a protest album, one detached from all convention. A total absence of common musical structure and an unfiltered rush of sound recordings create a nightmarish, claustrophobic atmosphere. Pyrolator used a Korg MS20, SQ10 sequencer, B20R home organ, a Davolisint synthesizer, a Logan string orchestra and a dual-channel tape machine. Inland is both a rejection of the new form of protest song, the throaty, despairing scream of punk rock, and a rejection of the traditional form of protest song as nurtured far into the 1980s by the bards of the green, alternative milieu. Furthermore, there is another side to Inland: a desire for something new, a passion for experimentation, seeking to extend ones own horizon and that of others. This desire runs through all of Pyrolators work, from his Inland debut to his 2011 release Neuland (BB 084CD). Thus Inland remains, in spite of its protests and rejections, a positive album. For inherent in every "no" is a "yes" to something else. Maybe something better." -Bureau B.

Artist: PYROLATOR
Title: Pyrolators Traumland
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. In 1986 Pyrolator moved into a sparsely furnished apartment in Berlin. This is where he wrote the tracks for the album. "I was fascinated by dream research at the time, even visiting seminars on the subject. I wanted to capture dreams in music -- not esoterically, but in a scientific, analytic manner." Pyrolator thus set his alarm to ring at the same time every night in his Berlin pad, the somnolent sonic-explorer-turned-dream-chaser noting down what he remembered. Once he had collected enough material, he headed back to the studio in Düsseldorf. Traumland is the Pyrolator work which comes closest to a band album. Saxophones, trumpets, drums, yes, even real guitars! Jörg Kemp and the New York singer Susan Brackeens took over vocal duties. How did that transpire? Pyrolator: "I had produced a few songs for Susan at the Ata Tak studio, we got on well and I liked her voice. The songs were classic pop tracks, more or less, so it made perfect sense to invite Susan back for Traumland. As a rule, my pop songs usually went to my band project, Der Plan. However, working with Susan motivated me to give them a try on a Pyrolator record. Jörg had worked with me on almost all of my solo albums. We were good friends, and we also released records by his band, Lost Gringos, on Ata Tak." If the front and back covers of the album (surrealism on one side, a band picture on the other) are diametrically opposed, then the music on Traumland is no less diverse: spheric instrumental tracks confront jazzy pop songs, reminiscent of English pop à la Scritti Politti or even ABC. "The critics liked Traumland and good reviews appeared almost everywhere, but the public reception was somewhat less euphoric. This was not the music they had expected to hear. People wanted something more experimental from me," Pyrolator recollects. Musikexpress magazine proclaimed it "springtime for consciousness," which sums it up nicely. Includes two bonus tracks." - Bureau B.

Artist: PYROLATOR
Title: Pyrolators Wunderland
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Bureau B reissues Pyrolators Wunderland, originally released on Ata Tak in 1984. Quote 1: "I have always strived for the opposite of whatever is hip at the time." (Pyrolator in June 2013) Quote 2: "Wunderland is so beautiful -- the first time I heard this record, I cried." (Andreas Dorau). New York City, 1983. Andreas Dorau has a gig at Danceteria and Pyrolator accompanies him as sound engineer. Back then, it really looked as if Ata Tak could make a go of it in the USA. "We had a New York office," Pyrolator recalls. Not bad at all -- possibly the first and only German independent label to set up shop. "Sadly, it was short-lived." A shame indeed, but the costs were too high. Still, Pyrolator was able to take advantage of the labels sporadic expansion to stay a while longer in the city that, famously, never sleeps. And he made the most of it. Right place, right time. "I was searching for new rhythms." It was in 1983 that rap, electro and hip-hop emerged from New York to take over the world -- styles and approaches to music and sound which were not so alien to the Ata Tak crew. But: look back at the Pyrolator quote before this text. The opposite of what happens to be hip, wouldnt that mean steering clear of electronic beats? Which, of course, is what Pyrolator did on Wunderland. Instead of checking the hottest sounds in record shops, he copied out bossa novas, cha-chas and mambos in the New York Public Library for the Performing Arts and scoured stores and second-hand dealerships for sheet music. After these forays, he returned to his Lower East Side apartment and sat down at the piano to compose melodies and modify his newly-acquired rhythms. The foundations of Wunderland were laid. Pyrolator recorded birds and other animals, used hollow wood as a marimba and now, with his modified Latin rhythms, had the conditio sine qua non for Wunderland. Modern technology (Emulator 1, serial number 13!) and hollow tree trunks, and melodies on a par with Ennio Morricone or Burt Bacharach. Includes five bonus tracks." - Bureau B.

Artist: ROEDELIUS
Title: Flieg Vogel fliege
Format: LP
Label: Bureau B
Country: Germany
Price: $22.00
180 gram vinyl pressing. “Bureau B presents Flieg Vogel fliege by Hans-Joachim Roedelius, released by Sky Records in 1982. Flieg Vogel fliege (trans. "Fly Bird Fly") is the fifth installment of the "Selfportrait" series, with musical sketches and ideas recorded by Roedelius between the years of 1973 and 1979 on a Revox tape machine in his living room. In contrast to the previous self-portraits, which he left untouched, Roedelius revised these recordings and embellished them with further tracks. "Measured against its predecessors, however, the audio quality is notably superior on this edition. Roedelius clearly improved the sound of the old tapes in the process of compiling the pieces at the Erpel Studio in Vienna, also taking the opportunity to add a few tracks. Strictly speaking, these relatively complex multi-track recordings can no longer be bracketed together with the fleeting sketches as heard on the earlier albums. Now and again, they bear a resemblance to the character of the Cluster LP Sowiesoso. Having arrived in Austria following a protracted lean period, Roedelius finally had the chance to work in a studio which was not only well-equipped, but was also run by a kindred spirit sound engineer. The favorable working conditions, a myriad of new impressions and, by no means least, his personal happiness, saw Roedelius and his music flourish. This is discernable on Flieg Vogel fliege, even if only some of the music was created in his new adopted home. If complete insouciance, the acceptance of little musical mistakes and inaccuracies were symptomatic of the earlier self-portraits, then a mild formal rigor runs through this volume. Not that Roedelius allows this to hinder him in any way. The joy of playing and talent for improvisation celebrate a cheerful resurrection once again. His spontaneity and exuberance, the ability to express thoughts and feelings through music, none of this was lost. This confirms Flieg Vogel fliege as an authentic and undisguised Roedelius portrait. With a little patina, perhaps. But music by the same man today reveals exactly the same individual, perhaps a little wiser, and of course, some years older. And there you have it: Roedelius is and shall remain the merry fool from the jardin au fou." --Asmus Tietchens

Artist: ROEDELIUS
Title: Lustwandel
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. The third studio album by Hans-Joachim Roedelius, originally released by Sky Records in 1981, fulfilled a dream he had long cherished. A series of chamber music pieces, with grand piano solos taking center stage in some places, archaised percussion patterns in others. Lustwandel represents a logical progression, following on from Jardin Au Fou (re-released on Bureau B in 2009). Both albums were recorded at Paragon Studios in 1979 and produced by Peter Baumann (Tangerine Dream). Electronica in the sense of synthetic sound sources or rhythm are absent from Lustwandel, in keeping with so many Roedelius solo works. This led to lively action amongst Cluster fans 30 years ago, as they divided into different camps. Roedelius unique musical style and irrepressible enthusiasm take his listeners down more of a sidetrack to the aural landscape of European harmonic and rhythmic tradition. There are obvious parallels to so-called serious chamber music, if not all the way along the route. His music has never been bound by contemporary aesthetic debate nor susceptible to emerging theory. As an autodidact, his techniques of composition and piano-playing are so well developed, that Roedelius has never wanted, nor needed to bother himself with any of that. It is a carefree Roedelius who saunters through both the 19th and late-20th centuries. Boundaries dissolve in his music. Here the glow of a magic lantern, there the glare of a neon light. Herein lay the originality of Lustwandel: he availed himself of traditional forms yet expressed them in contemporaneous fashion. Roedelius and Lustwandel could easily have been assimilated into the postmodern era which arrived in the 1970s. But, as usual, he was many miles away from the hub of cultural activity, without the slightest inclination to pay any attention to new phenomena. This child of the sun walks some very different paths indeed. Printed inner sleeve with photos and an essay by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Offene Turen
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. "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 analog rhythm machine now and then to discreet effect. Roedelius takes great care to steer well clear of any cosmic fog or de-personalized abstractions. Nothing of the sort can be heard, as he focuses 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. Offene Türen is an album of electronic chamber music and only someone with as sunny a disposition as Roedelius could be its composer and performer. Indeed, the unfettered Roedelius knew no artistic barriers in the early 1980s, following a turbulent period of personal upheaval amidst the musical revolution going on around him. He began to open up a brand new musical world, venturing forth with typical humility, as quietly and steadfastly as ever. Offene Türen marks a kind of threshold which Roedelius crosses in the moment of its inception: one foot in the glorious 1970s, the other already reaching into the uncharted future of the 1980s. Roedelius did not surrender his musical identity in the process, nor did he modify his inimitable artistic handwriting. Both had attained a level of complexity that perhaps he himself would have found surprising in earlier days. Those who have listened carefully to Roedelius both before and after Offene Türen will appreciate the albums significance. But even leaving such historical reminiscences aside, this music is incredibly vibrant and beautiful. Listening to it now is as great a pleasure as it was at the time of its creation. Clearly, Roedelius has always been an absolute master of timelessness." -Asmus Tietchens.

Artist: ROEDELIUS
Title: Plays Piano (Live In London 1985)
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
LP version. Breathtakingly beautiful piano fantasies 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 acquiring his Bösendorfer grand piano in 1983, his interest had grown in the most royal of instruments: the piano. While staying with Brian Eno in 1985 (they had collaborated earlier in the 70s), Roedelius composed a wealth of new material on his friends 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: "At the Bloomsbury Theatre I encountered a Steinway grand piano of exceptional quality. I was thus given the perfect opportunity to put my ideas of simple piano rendition into practice. For me, the aural explorer, it was a gift from heaven," he describes of the instrument. The audience responded enthusiastically. "People were kneeling down before me in gratitude and happiness," Roedelius recalls. And anyone who listens to the recordings will understand why. Roedelius plays his way through 21 delicate, drifting piano fantasies, sometimes meandering dreamfully, often progressing towards gorgeous, deeply moving melodies. Asmus Tietchens musings on Roedelius 1991 opus Piano Piano are just as valid here: "His music is quiet and focused, but to call it contemplative or even meditative would also be wide of the mark: not all music which draws us out of ourselves is accompanied by spiritual pomp." (Fortunately, there is no audible trace of the audience at any point of the recording.) Which leaves us with the question: why did we have to wait 25 years for this treasure to see the light of day? Roedelius explains: "I always knew that this concert would have to be made available some day, I was just waiting for the right moment, for the right partners who would do it justice. On 180 gram vinyl with free download code." - Bureau B.

Artist: ROEDELIUS
Title: Selbstportrait
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version on 180 gram vinyl. This is the third solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1979 on Sky Records. Alongside his ongoing work with Cluster and Harmonia, Roedelius amassed an almost incalculable number of musical notations during his time in the idyllic Weser Uplands. Fleeting sketches, spontaneous improvisations, implied miniatures, rough compositions -- Roedelius recorded virtually every idea he came up with outside the studio sessions on his Revox A77 reel to reel; with the basic intention of capturing his moments of inspiration, he simply let the tape run as he played around on the Farfisa organ. Sound quality was not his prime concern, as he was not as yet entertaining any notion of releasing the results. As Roedelius recalls, costly tape spools were at a premium, so he recorded over older tapes in mono, at a less than ideal speed. Substandard, technically speaking (or listening), but as a self portrait, nothing short of a masterpiece. It would be inappropriate to measure this album by the hi-fidelity yardstick; see it as something closer to an intimate confession, an unguarded communiqué from one person to another. Bordering on naivety and free of conceit, Roedelius introduces us to his world through these chiffonesque études. There may be little variation in the Farfisa sound, but this is soon forgotten when Roedelius invites us to listen, to enter the experience. No expensive technology, no producer, no collaborators. This is unfiltered personality, the real Roedelius. Musically, Selbstportrait is characterized by a combination of ländler, minimalism and harmonic simplicity. The Weser Uplands, where Roedelius recorded his music, are certainly no Arcadia and the village of Forst is anything but Atlantis, but perhaps it could become the Graceland of German electronic music. Printed innersleeve with original liner notes and new notes by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Selbstportrait
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"German keyboardist Hans-Joachim Roedelius, originally released in 1979 on Sky Records. Alongside his ongoing work with Cluster and Harmonia, Roedelius amassed an almost incalculable number of musical notations during his time in the idyllic Weser Uplands. Fleeting sketches, spontaneous improvisations, implied miniatures, rough compositions -- Roedelius recorded virtually every idea he came up with outside the studio sessions on his Revox A77 reel to reel; with the basic intention of capturing his moments of inspiration, he simply let the tape run as he played around on the Farfisa organ. Sound quality was not his prime concern, as he was not as yet entertaining any notion of releasing the results. As Roedelius recalls, costly tape spools were at a premium, so he recorded over older tapes in mono, at a less than ideal speed. Substandard, technically speaking (or listening), but as a self portrait, nothing short of a masterpiece. It would be inappropriate to measure this album by the hi-fidelity yardstick; see it as something closer to an intimate confession, an unguarded communiqué from one person to another. Bordering on naivety and free of conceit, Roedelius introduces us to his world through these chiffonesque études. There may be little variation in the Farfisa sound, but this is soon forgotten when Roedelius invites us to listen, to enter the experience. No expensive technology, no producer, no collaborators. This is unfiltered personality, the real Roedelius. Musically, Selbstportrait is characterized by a combination of ländler, minimalism and harmonic simplicity. The Weser Uplands, where Roedelius recorded his music, are certainly no Arcadia and the village of Forst is anything but Atlantis, but perhaps it could become the Graceland of German electronic music. Liner notes by Asmus Tietchens." -Bureau B.

Artist: ROEDELIUS
Title: Selbstportrait - Vol. II
Format: LP
Label: Bureau B
Country: Germany
Price: $18.00
"180 gram LP version. This is the fourth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1980 on Sky Records. With Selbstportrait, Roedelius gave unequivocal confirmation that he no longer was treading the hitherto common paths of electronic music. Selbstportrait - Vol. II corroborated the findings: for Roedelius, electronics would no longer be a means of creating abstract, noise-like music in the future, nor of generating utopian, mechanical rhythmic structures. His own utopia was quite a different place, more in keeping with his own personality and view of the world. Hence both self-portraits, in particular Selbstportrait - Vol. II, are programmatic. Uniquely among musicians of the German electronic scene at the time, Roedelius succeeded in blending European and extra-European musical styles quite intuitively, developing his own language of music, neither epigonic nor weighed down by stereotype, as often occurred in the emerging world music genre of the period. There is a fascinating simplicity to the music of Roedelius: his vision does not reside in cloud-cuckoo-land. His utopia is founded in reason, his vision sustained by a simple base: not only did he ignore musical traditions, he also sought to create something new out of them. He succeeded where many of his contemporaries failed, going to ground as they attempted to bridge the postmodern gap. Not Roedelius. Roedelius music is littered with stumbling blocks. The listener may not necessarily lose his footing, but will not exactly find himself sitting comfortably as he listens. With this album, Roedelius has drawn a clearly delineated picture of himself. Few musicians can say the same, few even harbor such aspirations. Transcending styles, hypes and modernisms, Selbstportrait - Vol. II is electronically-sourced music, yet sounds anything but technical, dismantling the misconception that electronic music has to sound cold and distant. Selbstportrait - Vol. II has never been released completely before. Printed innersleeve with original liner notes and new notes by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Selbstportrait - Vol. II
Format: CD
Label: Bureau B
Country: Germany
Price: $26.00
"This is the fourth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1980 on Sky Records. With Selbstportrait, Roedelius gave unequivocal confirmation that he no longer was treading the hitherto common paths of electronic music. Selbstportrait - Vol. II corroborated the findings: for Roedelius, electronics would no longer be a means of creating abstract, noise-like music in the future, nor of generating utopian, mechanical rhythmic structures. His own utopia was quite a different place, more in keeping with his own personality and view of the world. Hence both self-portraits, in particular Selbstportrait - Vol. II, are programmatic. Uniquely among musicians of the German electronic scene at the time, Roedelius succeeded in blending European and extra-European musical styles quite intuitively, developing his own language of music, neither epigonic nor weighed down by stereotype, as often occurred in the emerging world music genre of the period. There is a fascinating simplicity to the music of Roedelius: his vision does not reside in cloud-cuckoo-land. His utopia is founded in reason, his vision sustained by a simple base: not only did he ignore musical traditions, he also sought to create something new out of them. He succeeded where many of his contemporaries failed, going to ground as they attempted to bridge the postmodern gap. Not Roedelius. Roedelius music is littered with stumbling blocks. The listener may not necessarily lose his footing, but will not exactly find himself sitting comfortably as he listens. With this album, Roedelius has drawn a clearly delineated picture of himself. Few musicians can say the same, few even harbor such aspirations. Transcending styles, hypes and modernisms, Selbstportrait - Vol. II is electronically-sourced music, yet sounds anything but technical, dismantling the misconception that electronic music has to sound cold and distant. Selbstportrait - Vol. II has never been released completely before. Includes 5 tracks never released on CD! Liner notes by Asmus Tietchens." -Bureau B.

Artist: ROEDELIUS
Title: The Diary Of The Unforgotten (Selbstportrait VI)
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. The Diary Of The Unforgotten is a collection of recordings from the years 1972 to 1978 and was first released in 1990 (with different artwork). Between the years of 1972 and 1978, Hans-Joachium Roedelius and Dieter Moebius, later joined by Michael Rother, lived out on a country estate in the idyllic, diminutive settlement of Forst in the Weser Uplands. It was here that the Harmonia albums, legendary recordings with Brian Eno and various splendid Cluster albums were created. Both the house itself and the surrounding landscape held a magical fascination for Roedelius. The time he spent here was intense in every sense of the word. He translated his feelings and impressions into music, giving rise to the "self-portrait" series. His sixth self-portrait bears the title The Diary Of The Unforgotten and offers a compelling aural record of the Roedelius psyche of the period. For Roedelius, Selbstportrait VI, in particular the 24 minutes of the "Hommage �? Forst" centerpiece, were like messages in a bottle, cast into the water in 1990 and now ready to be discovered on the different shores of 2010. Every track on the album is a distant echo from the Forst era. "Even today," Roedelius writes in the original liner notes (1990), "these pieces retain the spirit and atmosphere of those days in Forst, where I learned so much about life." The windswept character of Selbstportrait VI is underlined by the sporadically lo-fi quality of the recordings: Roedelius just let the tape machine run, without overdubs. In the booklet, Roedelius casts his mind back again to the detailed creation of the tracks and their relevance to his later works: "At the end of the days sessions, I would sit in our small, makeshift ground floor studio almost every night. With the window open in summer, I could hear the ducks quacking on the river, the horses snorting and the cows mooing on the meadows across the water, the wind rustling through the leaves of old elm and oak trees on the riverbank behind the house. This set the scene for my first self-portraits, as well as providing the basis for subsequent studio productions, and other compositions which, in a way, could also be seen as self-portraits." Printed inner sleeve with an appraisal by Asmus Tietchens." - Bureau B.

Artist: ROEDELIUS
Title: Wenn Der Südwind Weht
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl LP version. Wenn Der Südwind Weht ("When The South Wind Is Blowing") is the seventh solo album by Hans-Joachim Roedelius, originally released on Sky Records in 1981 (also known under the title Selbstportrait IV). "Where on earth does Roedelius find such a beautiful array of notes?" wonders Asmus Tietchens in his sleeve notes for this reissue. Not an unreasonable question. Roedelius, a pioneer of ambient music, Krautrock and, arguably, synthesizer pop, member of such seminal bands as Cluster and Harmonia, revels in alien worlds on this record. This is "Music to be listened to quietly," as Roedelius advised on the LP cover. Indeed, listening at low volume enhances the sense of otherworldliness quite considerably. And yet, this album can hardly be termed "spacy" nor psychedelic in the slightest. Electronic excesses are absent, aural exotica off-limits, bizarre cacophonies non-existent. The individual tracks are compact, lined up in quick succession, like a string of pearls. Wherein lies their fascination? From what distant place do they reach out to the listener? First of all, there is the Roedelian "quietitude." Even when the music is turned up, it remains quiet in character, almost as if wrapped in cotton wool. The quiet nature of this music is inseparable from the serene and tranquil manner in which Roedelius goes about creating his typical harmonies and melodies on an electric organ of decidedly limited sonic variability. He leaves in the occasional blip and electric interference or tape hiss, but nothing can distract him from the inspiration of the moment as it feeds his music. The contrast with the perfect, yet impersonal precision of minimalism could not be greater. Improvisation is the driving force of Roedelius music. Without a trace of exhibitionism, he externalizes himself through his music with an honesty that could move one to tears. As a member of Cluster and Harmonia, such radicalism was never open to him. Südwind is an undisputed highlight in the Roedelius canon. Inner sleeve with liner notes by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Wie Das Wispern Des Windes...Like The Whispering Of The Wind
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. Bureau B reissues the eleventh solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1986 on the small Norwegian label Cicada. If we can agree on 1969 as the year of Clusters inception, then Roedelius needed a good 17 years to discover the aural qualities and musical beauty of the grand piano for his own compositions. More precisely, he must have become aware of the grand piano during the recording sessions for Jardin Au Fou (1979) and Lustwandel (1981) in Peter Baumanns Paragon studio. Another five years would pass before he built an album entirely around the piano, with electronic elements altogether absent. There is no sign of the Farfisa organ or indeed any of the synthesizers which had previously been such a common feature of Roedelius solo works. The piano sounds were left untreated. Indeed, he was clearly so fascinated by the sonority and potential of the Bösendorfer grand piano that, a few overdubs notwithstanding, he dispensed with virtually all distinguishing features of his musical approach. On Wie Das Wispern Des Windes, Roedelius played his way into virgin territory, as new to his listeners as it was to him. Its no wonder that Wispern was released not on a specialist electronic label in Germany, but on a small Norwegian label called Cicada. Rarely has the title of a Roedelius album (trans. "Like the whispering of the wind") so poetically and yet so accurately described its content. Roedelius expands his études towards amorphousness; then suddenly, a disarmingly familiar melody appears, from a completely different source, perhaps (Harmonia? Cluster?). To continue the poetic theme of the LPs title, Roedelius is not only listening to the wind, he surrenders to it, allowing himself to be carried hither and thither; effortlessly, weightlessly transported to where the sun shines brightest. In this context, the image of a butterfly may be pushing the metaphor a little too far, but an apposite one nevertheless. Liner notes by Asmus Tietchens." - Bureau B.

Artist: ROEDELIUS, HANS-JOACHIM
Title: Geschenk Des Augenblicks - Gift Of The Moment
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. This is the tenth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1984 on Editions EG. On Geschenk Des Augenblicks - Gift Of The Moment, Roedelius broke away unequivocally from purely electronic music. If Lustwandel (BB 055CD/LP) and Jardin Au Fou (BB 023CD/LP) 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 focused 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. Significantly, his arrival in Austria (having moved there a few years earlier) was much more than a geographical relocation. Roedelius responded to the musical culture of romanticism and the Biedermeier tradition, their influences seeping into his essentially modern understanding of composition in bewildering fashion on Geschenk Des Augenblicks - Gift Of The Moment. It was all too much for his listeners, reared on the more familiar sounds of Cluster and Harmonia. Moreover, the album wore a veil of delicate melancholy: no vibrant folk dances, no colorful carousels, no cheerful melodies. Instead, Roedelius offered a calm, almost detached form of music, openly acknowledging romantic heritage. Geschenk Des Augenblicks - 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 labeled "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. Such artistic honesty bears no relation to reality-free New Age music. Printed inner sleeve with notes by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS, HANS-JOACHIM
Title: Momenti Felici
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl version. Bureau B reissues Momenti Felici by German keyboardist Hans-Joachim Roedelius, originally released in 1987 on the Virgin label Venture. Since the early 80s, Roedelius had more or less dispensed with electronics, focusing increasingly on the grand piano. He also collaborated with various combinations of musicians to create a new kind of music, vastly different from Cluster and Harmonia aesthetics. For Roedelius, it was not only a period of reorientation in musical terms, but also geographically: Austria was now his home. "Tu Felix Austria" (trans. "Oh, Happy Austria"), a time-honored Austrian campaign slogan, became his very own motto in no time at all. The pleasure he derived from playing the piano and meeting musicians on the same wavelength did the rest: an enthusiastic Roedelius allowed new impressions and discoveries to flow virtually unfiltered into his music. Momenti Felici is one of the finest examples hereof. With characteristically exuberant inventiveness, Roedelius tickles the ivories lightheartedly, or, entering into a more pensive mood, seems to caress the keys. With saxophonist Alexander Czjzek dueting on some of the pieces, Roedelius shuffles a pack of disciplined compositions and carefree improvisations. In this respect, Momenti Felici most closely resembles Jardin Au Fou. On closer listening, however, the length of time between the two albums can be discerned. Roedelius honed both his compositional and, more than anything, his playing skills in the lengthy period in between. Naturally, Momenti Felici saw Roedelius distance himself further still from the electronic scene. The signs had been there on his preceding albums and this release simply removed any last vestige of doubt. Roedelius had, in any case, long since found a new audience, who continue to follow him avidly today. With the passage of time, many of his companions from earlier days have come to realize that a beautiful melody and a rich piano chord can be just as pleasing to the ear as pure tones and rhythm machines. With liner notes by Asmus Tietchens." -Bureau B.

Artist: ROEDELIUS, HANS-JOACHIM
Title: Tape Archive 1973-1978
Format: 3 LP / 3 CD Box Set
Label: Bureau B
Country: Germany
Price: $141.00
"Bureau B releases a limited 3LP box set to celebrate Hans-Joachim Roedelius 80th birthday. During the legendary Forst years, Roedelius had a private workspace with a Farfisa organ, a Revox-A77 tape machine, an echo device and a synthesizer which he borrowed from the Cluster studio next door, now and again. Here he experimented, practiced, and allowed his imagination to flow at any hour of the day or night, whenever he was not in the studio with Dieter Moebius and/or Michael Rother at work on new Cluster or Harmonia material. Roedelius always let the tape run, in order to analyze the ideas thus captured more effectively on repeated listening. With the release of Tape Archive 1973-1978, for the first time ever, this Roedelius audio sketchbook has been digitalized and made available to the public. The box set offers us a deep insight into the creative process of his music. Fleeting notes, slivers of ideas, so to speak, moments of inspiration. Finger exercises, experiments in harmony, and studies in rhythm are also preserved on these magnetic tapes. Limited to 500 units: 3 LPs (180 gram vinyl) + 3 CDs, including a booklet with liner notes by Hans-Joachim Roedelius, Asmus Tietchens and Gunther Buskies." - Bureau B.

Artist: ROEDELIUS, HANS-JOACHIM
Title: Wie Das Wispern Des Windes...Like The Whispering Of The Wind
Format: LP
Label: Bureau B
Country: Germany
Price: $18.00
"180 gram LP version. Bureau B reissues the eleventh solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1986 on the small Norwegian label Cicada. If we can agree on 1969 as the year of Clusters inception, then Roedelius needed a good 17 years to discover the aural qualities and musical beauty of the grand piano for his own compositions. More precisely, he must have become aware of the grand piano during the recording sessions for Jardin Au Fou (1979) and Lustwandel (1981) in Peter Baumanns Paragon studio. Another five years would pass before he built an album entirely around the piano, with electronic elements altogether absent. There is no sign of the Farfisa organ or indeed any of the synthesizers which had previously been such a common feature of Roedelius solo works. The piano sounds were left untreated. Indeed, he was clearly so fascinated by the sonority and potential of the Bösendorfer grand piano that, a few overdubs notwithstanding, he dispensed with virtually all distinguishing features of his musical approach. On Wie Das Wispern Des Windes, Roedelius played his way into virgin territory, as new to his listeners as it was to him. Its no wonder that Wispern was released not on a specialist electronic label in Germany, but on a small Norwegian label called Cicada. Rarely has the title of a Roedelius album (trans. "Like the whispering of the wind") so poetically and yet so accurately described its content. Roedelius expands his études towards amorphousness; then suddenly, a disarmingly familiar melody appears, from a completely different source, perhaps (Harmonia? Cluster?). To continue the poetic theme of the LPs title, Roedelius is not only listening to the wind, he surrenders to it, allowing himself to be carried hither and thither; effortlessly, weightlessly transported to where the sun shines brightest. In this context, the image of a butterfly may be pushing the metaphor a little too far, but an apposite one nevertheless. Liner notes by Asmus Tietchens." -Bureau B

Artist: ROTHER, MICHAEL
Title: Flammende Herzen/Karussell
Format: 7"
Label: Bureau B
Country: Germany
Price: $16.00
"This is the sixth round of the Bureau B vinyl single reissue series which started successfully with reissues of Harmonia, La Düsseldorf and Palais Schaumburg. This 7" features German artist Michael Rother (Kraftwerk, Neu!, Harmonia) -- an officially licensed exact repro of this 1977 single, originally issued on Sky Records. Featuring Jaki Liebezeit (Can) on drums and the legendary producer Conny Plank. Includes the original artwork and a new mastering from the original master tapes." -Bureau B

Artist: SCHICKERT, GUNTER
Title: Kinder in der Wildnis
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. The fact that this album appeared at all in 1983 owes less to Günter Schickert and more to Steven and Alan Freeman, who sought him out for their Krautrock encyclopedia The Crack in the Cosmic Egg. On learning that Schickert had heaps of recordings in his archive, the Freeman brothers proposed compiling an album. Schickert agreed and handed over material which the English YHC label had released in cassette form. Kinder in der Wildnis is a more heterogeneous album than either of its predecessors, understandably so, since the pieces it contains are not immediately related to one another. Occasionally (above all, on the two bonus tracks -- available here for the first time), the influence of Neue Deutsche Welle (German new wave), virtually omnipresent in that era, may be detected. For the most part, however, Schickert stays true to form and creates layers of hypnotic, filigree echo patterns, frequently accompanied by a dragging beat. To add to the atmosphere, he mixed in dummy head recordings made in Kreuzberg on New Years Eve, 1980. In the following decade he augmented these with corresponding recordings from New Years Eve, 1990. A rare treat awaits on the title track -- his four year-old daughter can clearly be heard singing the chorus at full pelt. Günter Schickert remains one of the greats of the Krautrock underground. Alongside his solo album work, he was a member of GAM, No Zen, and Ziguri Ego Zoo and composed a wealth of music for theater. He also painted (the drawings in the booklet, for example) and worked as a multimedia artist. His career in music began in the late 1960s, early 1970s in Berlins legendary Zodiak Free Arts Lab (founded by Konrad Schnitzler and Hans-Joachim Roedelius). Among the similarly creative free spirits he met here was a certain Klaus Schulze, then drumming for Tangerine Dream. He would later join Schulze on tour as a roadie and musician and sometimes looked after Schulzes house when he was on the road. They recorded an album together in 1975 and intended to release it under the title Ich bin zwei Öltanks ("I am two oil tanks"). Alas, it would be another 38 years until it saw the light of day (with the rather more sensible title of The Schulze-Schickert Session). Today, amongst other things, Günter Schickert is back touring with his old band, Ziguri." -Bureau B.

Artist: SCHICKERT, GUNTER
Title: Uberfallig
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Bureau B reissues Günter Schickerts album Überfällig, originally released in 1979 on Sky Records. 180 gram pressing. "No sooner had electronic music broken through in Germany, principally aligned in the two schools of Düsseldorf and Berlin, than Günter Schickert also began his first musical experiments. Although GAM, the group he founded in 1973, did not then release a record, he did issue his first solo effort, Samtvogel, a year later -- an album which was eagerly snapped up and re-released by the Brain label. It would take five years for Sky Records to release his next LP, entitled Überfällig (trans. "Overdue"), which proved to be the last for a number of years. This album, as its German title suggests, was long overdue. Günter Schickert had developed his own unique, forward-looking type of music, assuming an exceptional position in the concert of German electronics. In spite of the clearly discernible influence of music from the so-called Berlin school (Tangerine Dream, Ash Ra Tempel etc.), Schickert is anything but a copycat. Schickert concentrated on pursuing his own ideas and pushing the boundaries of his remarkable aural creations. He is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. Similar experiments had also been attempted by Manuel Göttsching (Inventions For Electric Guitar) and Achim Reichel (A.R. & Machines: Die Grüne Reise), but without stretching the multifaceted nature of their music to the point of microtonality, as Schickert dared to do on Überfällig. His own take on minimalism places him closer to the likes of Steve Reich and Glen Branca, free from the reach of Klaus Schulze and Tangerine Dream. Schickerts use of concrete sounds and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 1980s. In 1979, the album was a statement of a virtuosic outsider, a guitarist and sound sculptor whose musical visions transgressed the level of expectation of a potential audience, detached from the electronic mainstream. Günter Schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins. The reissue of Überfällig was, in a word, overdue." -Asmus Tietchens; Liner notes by Asmus Tietchens.

Artist: SCHICKERT, GUNTER
Title: Uberfallig
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B reissues Günter Schickerts album Überfällig, originally released in 1979 on Sky Records. "No sooner had electronic music broken through in Germany, principally aligned in the two schools of Düsseldorf and Berlin, than Günter Schickert also began his first musical experiments. Although GAM, the group he founded in 1973, did not then release a record, he did issue his first solo effort, Samtvogel, a year later -- an album which was eagerly snapped up and re-released by the Brain label. It would take five years for Sky Records to release his next LP, entitled Überfällig (trans. "Overdue"), which proved to be the last for a number of years. This album, as its German title suggests, was long overdue. Günter Schickert had developed his own unique, forward-looking type of music, assuming an exceptional position in the concert of German electronics. In spite of the clearly discernible influence of music from the so-called Berlin school (Tangerine Dream, Ash Ra Tempel etc.), Schickert is anything but a copycat. Schickert concentrated on pursuing his own ideas and pushing the boundaries of his remarkable aural creations. He is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. Similar experiments had also been attempted by Manuel Göttsching (Inventions For Electric Guitar) and Achim Reichel (A.R. & Machines: Die Grüne Reise), but without stretching the multifaceted nature of their music to the point of microtonality, as Schickert dared to do on Überfällig. His own take on minimalism places him closer to the likes of Steve Reich and Glen Branca, free from the reach of Klaus Schulze and Tangerine Dream. Schickerts use of concrete sounds and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 1980s. In 1979, the album was a statement of a virtuosic outsider, a guitarist and sound sculptor whose musical visions transgressed the level of expectation of a potential audience, detached from the electronic mainstream. Günter Schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins. The reissue of Überfällig was, in a word, overdue." -Asmus Tietchens; Liner notes by Asmus Tietchens.

Artist: SCHNEIDER, ROEDELIUS
Title: Tiden
Format: LP + CD
Label: Bureau B
Country: G
Price: $27.00
180 gram vinyl. Comes with a CD of the album. "Not long after Hans-Joachim Roedelius (Cluster, Harmonia) and Stefan Schneider (To Rococo Rot, Kreidler, Mapstation) had released their first album Stunden, accompanied by a few live shows in 2011, Eric Satie and Brian Eno were quoted as the great inspiration for their musical collaboration. Fine references no doubt, one having invented musique dameublement, and the other having refined it into ambient music 80 years later. Yet Tiden does not sit easily in either camp. This is neither tasteful decor (à la Satie), nor is it electronic-auditory space-filler (à la Eno), gazing towards infinity. The short duration of the 13 pieces is enough to discount either genre. Better to consider these as concentrated, inspired études, carefully thought through and in no way random or sketchy. With cheerful gravitas, the two artists create absolute music -- music which desires only to be itself, without ulterior effects and with the declared intent of involving the listener in his emotional, inventive game. Perhaps Franz Schuberts moments musicaux would be a more suitable citation. The lightness and atmospheric intimacy of this music reveal Roedelius (grand piano, synthesizer) and the decades younger Schneider (Elektronik) as musicians who understand how to listen to one another and improvise on each others ideas immediately. The result is a lively, relentless interplay of great composure, more surprising than any tide could be, as precise calendars exist for tidal flows. Roedelius can already look back on an adventuresome career in music. Schneider has also prospered through exciting decades in contemporary pop. This is the second time their paths have crossed. Tiden keeps the promise which their first album made -- genial contemporary music from two artists who are as one in heart and soul. And when Roedelius steps on the pedal of his grand piano, well, it squeaks a little." -Asmus Tietchens

Artist: SCHNITZLER, CONRAD
Title: Blau
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"On the Red Album Rot, Conrad Schnitzler laid down the direction his musical artistry would take. His second solo , The Blue Album Blau, originally released in 1974, offered confirmation of his intent. Maybe the "Red" and "Blue" tracks were recorded in the same session. The 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 Conrad 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. Courage, the pioneering spirit and artistic brilliance can be detected in each part of the albums two infinite sequences. Inspired by Joseph Beuys, Schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. Questions of harmony, melody and strict form were well and truly rejected by Schnitzler. His aural crystals shine like pearls on a string. Schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity. Schnitzlers 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. Includes a printed innersleeve with notes from Asmus Tietchens. 180 gram vinyl." -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Blau
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"On the Red Album Rot, Conrad Schnitzler laid down the direction his musical artistry would take. His second solo , The Blue Album Blau, originally released in 1974, offered confirmation of his intent. Maybe the "Red" and "Blue" tracks were recorded in the same session. The 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 Conrad 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. Courage, the pioneering spirit and artistic brilliance can be detected in each part of the albums two infinite sequences. Inspired by Joseph Beuys, Schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. Questions of harmony, melody and strict form were well and truly rejected by Schnitzler. His aural crystals shine like pearls on a string. Schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity. Schnitzlers 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. Digipak reissue with liner notes by Asmus Tietchens, rare photos and six bonus tracks." -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Con 3
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. This album saw Conrad Schnitzler head further in the direction of pop music. Like Consequenz, Con 3 (1981) is a collaborative effort with Wolfgang Seidel, alias Sequenza. Con 3 is a really odd mixture of numerous ingredients which Schnitzler was capable of combining with dexterity and taste. His musical handwriting is immediately apparent in the foreground. Effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever -- this is Schnitzler alright, this is his musical utopia. Then Wolfgang Seidel, formerly drummer with Ton Steine Scherben: an ideal partner for Schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. Another ingredient in Con 3 is undoubtedly German new wave (Neue Deutsche Welle, NDW). How could it not have touched Schnitzler? He lived and worked in Berlin! Above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of NDW. In this respect, Schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. The fourth component of Con 3 is without question the character in the background, Peter Baumann. As producer and sound engineer, he was to Schnitzler what Conny Plank had been for Cluster and Harmonia and many others. His gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his Paragon Studio. Years of working with Tangerine Dream honed his studio experience and his intuitive flair for electronic experiments. Those like Schnitzler who were able to work in the Paragon Studio were in exceptionally good hands. There could hardly be a more fertile alliance. Con 3 might have sounded rather disconcerting to Schnitzler listeners at the time. He had long since nailed his colors to the mast of the art scene (Fluxus, Beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. Not for the first time, perhaps, but particularly emphatically on this album. Many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. Not Schnitzler. He remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music." -Asmus Tietchens. Includes a printed innersleeve with notes from Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Con 3
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"This album saw Conrad Schnitzler head further in the direction of pop music. Like Consequenz, Con 3 (1981) is a collaborative effort with Wolfgang Seidel, alias Sequenza. Con 3 is a really odd mixture of numerous ingredients which Schnitzler was capable of combining with dexterity and taste. His musical handwriting is immediately apparent in the foreground. Effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever -- this is Schnitzler alright, this is his musical utopia. Then Wolfgang Seidel, formerly drummer with Ton Steine Scherben: an ideal partner for Schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. Another ingredient in Con 3 is undoubtedly German new wave (Neue Deutsche Welle, NDW). How could it not have touched Schnitzler? He lived and worked in Berlin! Above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of NDW. In this respect, Schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. The fourth component of Con 3 is without question the character in the background, Peter Baumann. As producer and sound engineer, he was to Schnitzler what Conny Plank had been for Cluster and Harmonia and many others. His gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his Paragon Studio. Years of working with Tangerine Dream honed his studio experience and his intuitive flair for electronic experiments. Those like Schnitzler who were able to work in the Paragon Studio were in exceptionally good hands. There could hardly be a more fertile alliance. Con 3 might have sounded rather disconcerting to Schnitzler listeners at the time. He had long since nailed his colors to the mast of the art scene (Fluxus, Beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. Not for the first time, perhaps, but particularly emphatically on this album. Many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. Not Schnitzler. He remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music." - Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Congratulacion
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
LP version on 180 gram vinyl. "Conrad Schnitzler is as unpredictable as he is true to himself. If this sounds paradoxical, he reconfirmed the assertion in 1987 with an album which posed many questions and offered few answers -- his music more extraordinary than ever. The indefatigable Schnitzler still leaves anyone listening to Congratulacion today rather baffled. Those well-acquainted with his music might search in vain for familiar landmarks. Instead, new and unexpected features can be heard, unlike anything in Schnitzlers previous works. The reason for the albums uniqueness lies in the technical advancements of electronic music-making. Schnitzler never shied away from any kind of innovation. On Gold (BB 150CD/LP) and Silver (BB 149CD/LP) he had masterfully deployed a new Palm synthesizer. Congratulacion saw Schnitzler introduce the Yamaha CX 5, a combination of digital and analog sound generation, lending the album its distinctive quality. This machine enabled him to program the most complex of rhythms and strange harmonies and, if necessary, completely unforeseen melodies. 21.8.86 (track 8), for example, could easily have been composed by his old Kluster colleague Hans-Joachim Roedelius. This must have given him, this oh-so rigorous concept artist, no end of pleasure. Why else would he have composed 22 short pieces with the aid of the CX 5 instead of fewer, lengthier tracks?" --Asmus Tietchens; Features six bonus tracks and an essay by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Conrad & Sohn
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. "Conrad Schnitzler is undoubtedly one of the founding fathers of German electronica. And his son, Gregor Schnitzler, matched the fathers extraordinary level of creative output. They appear to have settled any musical differences amicably. After all, how else could they have shared an LP released by Conrad Schnitzler himself? One half of Conrad & Sohn features music by Conrad Schnitzler, the other, his son Gregor. Two mini-albums on one disc, so to speak. An ideal opportunity to compare them. Judging by the similarities in sound, Gregor clearly had access to his fathers music equipment, but the way he uses electronics and his voice could not be more different. Industrial (e.g. Cabaret Voltaire) influences are apparent. The dry minimalism of German new wave (NDW) also left its mark on him. A sense of the end of days in some places gives way to highly-charged hysteria in others. For young, modern musicians in the frontline city of West Berlin, a mix of depression and anger was the natural prerequisite for their uncomplicated, unsentimental and yet emotional music. And the "No Future" claim had not yet lost its validity. Gregor unequivocally took sides; he was with the young. Conrads music on this album also shows some signs of contemporary influence. As a veteran of the avant-garde and an experienced performance artist, he adopted a different aesthetic stance to that of his son, Gregor. Leaving the bleak, cryptic text of the first track aside, Conrad speaks to the knowledgeable listener in a familiar musical language: sequencer shapes with no end and no beginning, then an uncommonly humorous miniature with a Donald Duck voice, followed by electronic particles travelling from anywhere to who-knows-where. Total abstraction. Father and son certainly offer up drastically opposing musical concepts to our ears." -Asmus Tietchens

Artist: SCHNITZLER, CONRAD
Title: Conrad & Sohn
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Conrad Schnitzler is undoubtedly one of the founding fathers of German electronica. And his son, Gregor Schnitzler, matched the fathers extraordinary level of creative output. They appear to have settled any musical differences amicably. After all, how else could they have shared an LP released by Conrad Schnitzler himself? One half of Conrad & Sohn features music by Conrad Schnitzler, the other, his son Gregor. Two mini-albums on one disc, so to speak. An ideal opportunity to compare them. Judging by the similarities in sound, Gregor clearly had access to his fathers music equipment, but the way he uses electronics and his voice could not be more different. Industrial (e.g. Cabaret Voltaire) influences are apparent. The dry minimalism of German new wave (NDW) also left its mark on him. A sense of the end of days in some places gives way to highly-charged hysteria in others. For young, modern musicians in the frontline city of West Berlin, a mix of depression and anger was the natural prerequisite for their uncomplicated, unsentimental and yet emotional music. And the "No Future" claim had not yet lost its validity. Gregor unequivocally took sides; he was with the young. Conrads music on this album also shows some signs of contemporary influence. As a veteran of the avant-garde and an experienced performance artist, he adopted a different aesthetic stance to that of his son, Gregor. Leaving the bleak, cryptic text of the first track aside, Conrad speaks to the knowledgeable listener in a familiar musical language: sequencer shapes with no end and no beginning, then an uncommonly humorous miniature with a Donald Duck voice, followed by electronic particles travelling from anywhere to who-knows-where. Total abstraction. Father and son certainly offer up drastically opposing musical concepts to our ears." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Consequenz
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Commercial Schnitzler? How quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. Conrad Schnitzler fell under such a cloud when, after 1978, his songs, for a time at least, did not exceed the catchy compactness of pop songs, while their harmonies and rhythms seemed to be drifting towards pop. Produced by Peter Baumann (Tangerine Dream) the Con (1978) album and the Auf dem schwarzen Kanal 12" EP (1980) ushered in this phase, and the private release of the Consequenz album, also in 1980 -- as the title suggests -- was the logical consequence. Consequenz is Schnitzlers first collaboration with another musician since the days of Kluster long before. In Wolfgang Seidel aka Wolf Sequenza, he found someone who not only understood the Schnitzler principle but was able to expand on it with his own input. Seidel, like Schnitzler, had started early with the development of an alternative language of music, away from the mainstream. Schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with Consequenz, illustrating in detail how his music functions, which instruments and equipment he used and how the various elements are interconnected. It is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. Consequenz conveys 12 remarkably short pieces. Remarkable in the sense that Schnitzlers early solo works (e.g. Rot and Blau) were characterized by unending sequences. Not only are the tracks even shorter than on Con (1978), their form has also shifted. Electronic drums can be heard, along with an electric guitar in places; Schnitzler and Seidel sculpt rhythmic-harmonic structures with an analog sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. Little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. The influence of the German new wave (NDW) may also be detected, but not enough to determine the style of Consequenz. The dozen tracks on the album remain firmly rooted in Schnitzlers sonic universe, each an individual facet of his infinitely shimmering aural cascades. And, naturally, Consequenz is electronic pop music, lacking only the commercial added value which was of little interest to Schnitzler anyway -- he didnt give a damn." -Asmus Tietchens

Artist: SCHNITZLER, CONRAD
Title: Consequenz
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. Commercial Schnitzler? How quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. Conrad Schnitzler fell under such a cloud when, after 1978, his songs, for a time at least, did not exceed the catchy compactness of pop songs, while their harmonies and rhythms seemed to be drifting towards pop. Produced by Peter Baumann (Tangerine Dream) the Con (1978) album and the Auf dem schwarzen Kanal 12" EP (1980) ushered in this phase, and the private release of the Consequenz album, also in 1980 -- as the title suggests -- was the logical consequence. Consequenz is Schnitzlers first collaboration with another musician since the days of Kluster long before. In Wolfgang Seidel aka Wolf Sequenza, he found someone who not only understood the Schnitzler principle but was able to expand on it with his own input. Seidel, like Schnitzler, had started early with the development of an alternative language of music, away from the mainstream. Schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with Consequenz, illustrating in detail how his music functions, which instruments and equipment he used and how the various elements are interconnected. It is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. Consequenz conveys 12 remarkably short pieces. Remarkable in the sense that Schnitzlers early solo works (e.g. Rot and Blau) were characterized by unending sequences. Not only are the tracks even shorter than on Con (1978), their form has also shifted. Electronic drums can be heard, along with an electric guitar in places; Schnitzler and Seidel sculpt rhythmic-harmonic structures with an analog sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. Little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. The influence of the German new wave (NDW) may also be detected, but not enough to determine the style of Consequenz. The dozen tracks on the album remain firmly rooted in Schnitzlers sonic universe, each an individual facet of his infinitely shimmering aural cascades. And, naturally, Consequenz is electronic pop music, lacking only the commercial added value which was of little interest to Schnitzler anyway -- he didnt give a damn." -Asmus Tietchens. Includes a printed innersleeve with notes from Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Contempora
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Contempora (1981) is a sort of collection of sketches, reflecting Conrad Schnitzlers inexhaustible creative powers in condensed form. Like light refracting through a multiple prism, shapes and colors constantly change, backgrounds shift through brightness and darkness. Each track on the album could easily double or triple in length without relinquishing any of its magic or indeed becoming boring. Schnitzler grants us the merest glimpses into his diverse soundscapes and sonic armories. He opens one door ever so slightly, only to close it again and open another for just a few minutes. Improvised sonic comets shimmer over Schnitzlers inimitable sequencer patterns, fleeting melodies fade away. Everything happens at breathtaking speed, miniatures without frames or tangible borders. In the early 80s Schnitzler worked primarily with the EMS Synthi A and Korg MS 10 synthesizers, an analog sequencer and analog rhythm machine. All in all, this was neither a particularly complex nor exotic array of equipment for the period. Many electronic artists used these inexpensive instruments, or something similar. Nevertheless, Schnitzler succeeded in setting himself apart from others in the fraternity, in both sonic and compositional terms. Not so much gripped by the need to occupy a unique position, he was simply unable and unwilling to divert from his creative path. Contempora again underlines Schnitzlers noble ethos." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Contempora
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. "Contempora (1981) is a sort of collection of sketches, reflecting Conrad Schnitzlers inexhaustible creative powers in condensed form. Like light refracting through a multiple prism, shapes and colors constantly change, backgrounds shift through brightness and darkness. Each track on the album could easily double or triple in length without relinquishing any of its magic or indeed becoming boring. Schnitzler grants us the merest glimpses into his diverse soundscapes and sonic armories. He opens one door ever so slightly, only to close it again and open another for just a few minutes. Improvised sonic comets shimmer over Schnitzlers inimitable sequencer patterns, fleeting melodies fade away. Everything happens at breathtaking speed, miniatures without frames or tangible borders. In the early 80s Schnitzler worked primarily with the EMS Synthi A and Korg MS 10 synthesizers, an analog sequencer and analog rhythm machine. All in all, this was neither a particularly complex nor exotic array of equipment for the period. Many electronic artists used these inexpensive instruments, or something similar. Nevertheless, Schnitzler succeeded in setting himself apart from others in the fraternity, in both sonic and compositional terms. Not so much gripped by the need to occupy a unique position, he was simply unable and unwilling to divert from his creative path. Contempora again underlines Schnitzlers noble ethos." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Filmmusik 1
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Bureau B present Filmmusik 1, a selection from Conrad Schnitzlers archive. In Conrad Schnitzlers sprawling archive, there are two tapes marked Filmmusik 1975 A and Filmmusik 1980 B. It is hard to say which videos this music belongs to, particularly as the pieces have been left untitled. Perhaps there isnt really any film material at all. The dates are of no great help either, since the tapes feature the same tracks, albeit in varying degrees of quality. Filmmusik 1 presents an initial selection of these finds, presented to Bureau B by Schnitzlers musical partner for many years and guardian of the archive, Wolfgang Seidel(Populäre Mechanik, Ton Steine Scherben). The tracks reveal much about how Schnitzler worked. He recorded individual tracks on cassettes and then combined them, also using them live in his so-called cassette concerts. Thus, there are recognizable recurring "melodies", sometimes fragmented, in different places. Some tracks have the same bass loop and rhythm, only the sounds and effects have changed. The music on theFilmmusik tapes is extraordinarily accessible for Schnitzler: hypnotic bass lines, stoic drum rhythms, dark drones, crystalline shards of melody. Wolfgang Seidel talks more about Schnitzlers life and work in the liner notes.” - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Filmmusik 1
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
“Bureau B present Filmmusik 1, a selection from Conrad Schnitzlers archive. In Conrad Schnitzlers sprawling archive, there are two tapes marked Filmmusik 1975 A and Filmmusik 1980 B. It is hard to say which videos this music belongs to, particularly as the pieces have been left untitled. Perhaps there isnt really any film material at all. The dates are of no great help either, since the tapes feature the same tracks, albeit in varying degrees of quality. Filmmusik 1 presents an initial selection of these finds, presented to Bureau B by Schnitzlers musical partner for many years and guardian of the archive, Wolfgang Seidel (Populäre Mechanik, Ton Steine Scherben). The tracks reveal much about how Schnitzler worked. He recorded individual tracks on cassettes and then combined them, also using them live in his so-called cassette concerts. Thus, there are recognizable recurring "melodies", sometimes fragmented, in different places. Some tracks have the same bass loop and rhythm, only the sounds and effects have changed. The music on the Filmmusik tapes is extraordinarily accessible for Schnitzler: hypnotic bass lines, stoic drum rhythms, dark drones, crystalline shards of melody. Wolfgang Seidel talks more about Schnitzlers life and work in the liner notes.” - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Filmmusik 2
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present part two of their Filmmusik double release. In 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 Bureau Bs Filmmusik double release (BB 244CD/LP, 2016), erroneously entitled "02/1980". Why the incorrect title? The tapes, which served as source material for the labels two Filmmusik releases, were copied onto two data carriers then mislabeled. 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, Bureau B simply gave them numbers. Not knowing of the above mentioned film at the time, the label called the track "02/1980", when they should have called it "02/1975 B" or, as they would later discover, "Gute Fahrt". Shortly after, Bureau B released Filmmusik 1 and Jin Kawai, curator of the official Schnitzler website, contacted the label with the information. 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 in 1978. The label was delighted to find it in 2015 and enthusiastically searched the Schnitzler archives for more of the same. This led the Bureau B to the 1975 recordings and the rest is history." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Gelb
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Conrad Schnitzlers yellow album (aka Gelb), originally released in 1981 on Edition Block. "The chronology of Schnitzlers solo releases in the 1970s -- and even more so in the 80s -- resembles a book with seven seals. Schnitzler regularly issued his music on analogue cassette or LP, often on his own as private releases, without any help from a label or professional distributor. The yellow album, for example, was issued on vinyl in 1981 by René Block in Berlin on his art gallery label (Edition Block). Schnitzler had previously released records on various other labels. The music on the yellow album had, in fact, already been on the market as The Black Cassette in 1974, although the production run was probably limited. The yellow album is subtitled 12 pieces from the year 1974, pointing to Schnitzlers novel approach. Whereas his prior works always lasted for the whole side of an LP or tape, the tracks here are shorter. Also new: Schnitzler goes beyond automatic sonic processes on a number of tracks, using his keyboards to integrate something approaching melodic improvisations played by hand into his musical cosmos. Schnitzlers otherwise crystalline, inorganic world of art is thus enriched by an almost human, organic element. An amiable breeze wafts through the music of the yellow album, thankfully miles away from the sentimental platitudes which run through off-the-shelf ambient music of the 1980s. The yellow album is not only amiable from start to finish, it also documents an important stage in Schnitzlers musical development. Belatedly released on LP (1981) and lacking in discographical detail, this aspect is easily overlooked. On careful listening, as Schnitzler connoisseurs will also realize instantly, this album reveals itself to be an important milestone, illuminating a clear path into the future. Schnitzler had begun to free himself from the constraints of orthodox conceptual art, advancing into the wide open spaces of uncharted musical territory." - Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Gelb
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Conrad Schnitzlers yellow album (aka Gelb), originally released in 1981 on Edition Block. "The chronology of Schnitzlers solo releases in the 1970s -- and even more so in the 80s -- resembles a book with seven seals. Schnitzler regularly issued his music on analogue cassette or LP, often on his own as private releases, without any help from a label or professional distributor. The yellow album, for example, was issued on vinyl in 1981 by René Block in Berlin on his art gallery label (Edition Block). Schnitzler had previously released records on various other labels. The music on the yellow album had, in fact, already been on the market as The Black Cassette in 1974, although the production run was probably limited. The yellow album is subtitled 12 pieces from the year 1974, pointing to Schnitzlers novel approach. Whereas his prior works always lasted for the whole side of an LP or tape, the tracks here are shorter. Also new: Schnitzler goes beyond automatic sonic processes on a number of tracks, using his keyboards to integrate something approaching melodic improvisations played by hand into his musical cosmos. Schnitzlers otherwise crystalline, inorganic world of art is thus enriched by an almost human, organic element. An amiable breeze wafts through the music of the yellow album, thankfully miles away from the sentimental platitudes which run through off-the-shelf ambient music of the 1980s. The yellow album is not only amiable from start to finish, it also documents an important stage in Schnitzlers musical development. Belatedly released on LP (1981) and lacking in discographical detail, this aspect is easily overlooked. On careful listening, as Schnitzler connoisseurs will also realize instantly, this album reveals itself to be an important milestone, illuminating a clear path into the future. Schnitzler had begun to free himself from the constraints of orthodox conceptual art, advancing into the wide open spaces of uncharted musical territory." --Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Gold
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Bureau B presents a song collection from Conrad Schnitzlers archive, recorded between 1976 and 1978, originally released by the small German label Marginal Talent in 2003. In the comprehensive canon of Schnitzler releases, the music on the Gold album stands out a mile in every respect. Judged on the sound alone, there is little to suggest that the material was recorded as long ago as the 1976 to 1978 period. There is more at play here than two tape recorders, analog synthesizers and sequencers. Digital keyboards and computer-aided musical progressions are in evidence. With its multi-channel complexity, perfect equalizing, a translucent depth of focus and the brilliance of its signals, Gold could easily have been recorded today, some 35 years later. Alas, Schnitzler can no longer let us in on the secret of his recording process, nor which equipment he deployed in achieving this feat. It is fair to surmise that this sound owed much to the fact that Schnitzler was often in the company of his friends from Tangerine Dream. Their equipment was always state-of-the-art -- and Schnitzlers technical expertise allowed him to take full advantage thereof. As if the tonal quality is not astounding enough, the compositions are guaranteed to dumbfound even the most enlightened Schnitzler listeners. Stuctured like a symphony in various movements, utterly abstract atonal passages are followed by solid sequences of rhythm and harmony, as energetic as Cluster, yet equally evocative of 1980s electronic pop music. Once again, his execution bordering on perfection, Schnitzler has pulled off the ultimate balancing trick between pop and so-called serious music. Liner notes by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Gold
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B presents a song collection from Conrad Schnitzlers archive, recorded between 1976 and 1978, originally released by the small German label Marginal Talent in 2003. In the comprehensive canon of Schnitzler releases, the music on the Gold album stands out a mile in every respect. Judged on the sound alone, there is little to suggest that the material was recorded as long ago as the 1976 to 1978 period. There is more at play here than two tape recorders, analog synthesizers and sequencers. Digital keyboards and computer-aided musical progressions are in evidence. With its multi-channel complexity, perfect equalizing, a translucent depth of focus and the brilliance of its signals, Gold could easily have been recorded today, some 35 years later. Alas, Schnitzler can no longer let us in on the secret of his recording process, nor which equipment he deployed in achieving this feat. It is fair to surmise that this sound owed much to the fact that Schnitzler was often in the company of his friends from Tangerine Dream. Their equipment was always state-of-the-art -- and Schnitzlers technical expertise allowed him to take full advantage thereof. As if the tonal quality is not astounding enough, the compositions are guaranteed to dumbfound even the most enlightened Schnitzler listeners. Stuctured like a symphony in various movements, utterly abstract atonal passages are followed by solid sequences of rhythm and harmony, as energetic as Cluster, yet equally evocative of 1980s electronic pop music. Once again, his execution bordering on perfection, Schnitzler has pulled off the ultimate balancing trick between pop and so-called serious music. Liner notes by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Grün
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Conrad Schnitzlers green album (aka Grün), originally released in 1981 on Edition Block. "Schnitzlers tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analog rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of Der Riese und seine Frau (The Giant and His Wife), bearing little resemblance to Schnitzlers usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but Bis die Blaue Blume blüht (Until the Blue Flower Blooms) transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colors of the spectrum. The composition is carried and held together by a permanent sequencer figure, brilliantly enhancing the catchy tune. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumanns Paragon Studio, like the Con album. The similarities are impossible to ignore. It is a well documented fact that Peter Baumann often allowed Schnitzler to work in his studio during this period. On the LP version, Bis die Blaue Blume blüht can be played at 33 or 45 rpm, revealing a wholly different piece of music at the chosen speed. Both speeds are available as two tracks on the CD version. For a composer to come up with something like this by design speaks of great artistry -- or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options -- an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders. The borders between Schnitzlers creative periods are too nebulous to be sure that the green album represents the coda of his 70s music. Still, Schnitzlers musical essence of the decade is in evidence as aural concentrate on both pieces. Not, however, as a recapitulatory review, but as a foundation, fertile ground in which Schnitzlers art would thrive in the decades which followed." -Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Grün
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. Conrad Schnitzlers green album (aka Grün), originally released in 1981 on Edition Block. "Schnitzlers tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analog rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of Der Riese und seine Frau (The Giant and His Wife), bearing little resemblance to Schnitzlers usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but Bis die Blaue Blume blüht (Until the Blue Flower Blooms) transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colors of the spectrum. The composition is carried and held together by a permanent sequencer figure, brilliantly enhancing the catchy tune. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumanns Paragon Studio, like the Con album. The similarities are impossible to ignore. It is a well documented fact that Peter Baumann often allowed Schnitzler to work in his studio during this period. On the LP version, Bis die Blaue Blume blüht can be played at 33 or 45 rpm, revealing a wholly different piece of music at the chosen speed. Both speeds are available as two tracks on the CD version. For a composer to come up with something like this by design speaks of great artistry -- or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options -- an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders. The borders between Schnitzlers creative periods are too nebulous to be sure that the green album represents the coda of his 70s music. Still, Schnitzlers musical essence of the decade is in evidence as aural concentrate on both pieces. Not, however, as a recapitulatory review, but as a foundation, fertile ground in which Schnitzlers art would thrive in the decades which followed." --Asmus Tietchens.

Artist: SCHNITZLER, CONRAD
Title: Kollektion 05: Conrad Schnitzler Compiled and Assembled by Thomas Fehlmann
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
“Things come full circle. In 1976 Thomas Fehlmann arrives in Hamburg to study art at the Hamburg University of Fine Arts. In 1979 he attends a guest lecture by Conrad Schnitzler, who demonstrates how the "extended definition of art" established by Joseph Beuys can be applied to music. This proves to be a crucial element in Fehlmanns decision to become a musician. And now, in 2015, over 35 years later, Fehlmann has compiled the fifth installment in Bureau Bs Kollektionseries, arranging, in uniquely harmonious fashion, 16 pieces from the early 1980s by the man who broadened his horizons, Conrad Schnitzler. The gateway to Schnitzlers sonic cosmos has been flung wide open. Conrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germanys electronic music avant-garde. A student of Joseph Beuys, he founded Berlins legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member ofTangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius), and 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 Berlins electronic and club scenes ever since, as a musician, producer, remixer, and DJ.” - Bureau B.

"I have strung together various pieces from Conrad Schnitzlers 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... I was looking for a form which would condense Conrad Schnitzlers 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." - Thomas Fehlmann.

Artist: SCHNITZLER, CONRAD
Title: Rot
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"There was a particular type of artist who could only have emerged in the legendary early 1970s. Few musicians fit the bill better than Conrad Schnitzler (Tangerine Dream, Kluster). Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were "subculture," "progressivity" and "avant-gardism." West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak Free Arts Lab was the ultimate point of convergence for subculture in West Berlin, with Conrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met up to perform in public. Bureau B presents Rot (The "Red" Album) from 1973, Schnitzlers first solo LP. Includes a printed innersleeve with notes from Asmus Tietchens. 180 gram vinyl." -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Rot
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"There was a particular type of artist who could only have emerged in the legendary early 1970s. Few musicians fit the bill better than Conrad Schnitzler (Tangerine Dream, Kluster). Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were "subculture," "progressivity" and "avant-gardism." West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak Free Arts Lab was the ultimate point of convergence for subculture in West Berlin, with Conrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met up to perform in public. Bureau B presents Rot (The "Red" Album) from 1973, Schnitzlers first solo LP. Digipak reissue with liner notes by Asmus Tietchens, rare photos and a 20-minute bonus track" -Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Silber
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"A collection from Conrad Schnitzlers archive, recorded between 1974 and 1975, originally released on LP only in 2009. Contains the complete original material (three more tracks than the 2009 release) ... Just when you think you have grasped Conrad Schnitzlers master plan, every time you kid yourself into predicting what you are about to hear, the next record comes along to prove you wrong. Motorik is writ large throughout. Even the less rhythmic passages remain grounded, never drifting into absolute abstraction. A more or less distinct ostinato runs through each track, condensed into a complex tapestry of electronic surprises amidst Schnitzlers typical cascades of sound and flashes of noise. And so the journey to the most distant corner of Schnitzlers world begins. Majestic drones and tricky melodies fly past the listener. Is this still the music of Schnitzler, the conceptual artist? Yes, undoubtedly. His view or concept of art allowed him the freedom to experiment in all directions, a stroke of luck for the listener. The Silber (trans. Silver) album offers up a form of pop music preempting nothing, unrelated to anything else. Far more, it represents Schnitzlers unique and inimitable blueprint for a music of the future, music which still astounds when we hear it today, almost 40 years later -- and it poses the almost philosophical question, whether this future has already happened or is yet to happen? Schnitzler was not alone in daring to create future music in the 1970s; yet many visions of that era were short-lived and appear rather dusty today, even a little embarrassing. The "precious metal" albums, in contrast, escape the zeitgeist and are patently resistant to retromaniac constraints. Schnitzlers artistic and -- let us spell it out -- aesthetic autonomy celebrates a veritable victory here. Liner notes by Asmus Tietchens." - Bureau B.

Artist: SCHNITZLER, CONRAD
Title: Silber
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"A collection from Conrad Schnitzlers archive, recorded between 1974 and 1975, originally released on LP only in 2009. Contains the complete original material (three more tracks than the 2009 release) on CD for the first time (with original running order). Just when you think you have grasped Conrad Schnitzlers master plan, every time you kid yourself into predicting what you are about to hear, the next record comes along to prove you wrong. Motorik is writ large throughout. Even the less rhythmic passages remain grounded, never drifting into absolute abstraction. A more or less distinct ostinato runs through each track, condensed into a complex tapestry of electronic surprises amidst Schnitzlers typical cascades of sound and flashes of noise. And so the journey to the most distant corner of Schnitzlers world begins. Majestic drones and tricky melodies fly past the listener. Is this still the music of Schnitzler, the conceptual artist? Yes, undoubtedly. His view or concept of art allowed him the freedom to experiment in all directions, a stroke of luck for the listener. The Silber (trans. Silver) album offers up a form of pop music preempting nothing, unrelated to anything else. Far more, it represents Schnitzlers unique and inimitable blueprint for a music of the future, music which still astounds when we hear it today, almost 40 years later -- and it poses the almost philosophical question, whether this future has already happened or is yet to happen? Schnitzler was not alone in daring to create future music in the 1970s; yet many visions of that era were short-lived and appear rather dusty today, even a little embarrassing. The "precious metal" albums, in contrast, escape the zeitgeist and are patently resistant to retromaniac constraints. Schnitzlers artistic and -- let us spell it out -- aesthetic autonomy celebrates a veritable victory here. Liner notes by Asmus Tietchens." - Bureau B

Artist: SCHNITZLER, CONRAD/PYROLATOR
Title: Con-Struct
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $28.00
“Conrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germanys electronic music avant-garde. A student of Joseph Beuys, he founded Berlins 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 andHans-Joachim Roedelius), and released countless solo albums. Pyrolator, born Kurt Dahlke in 1958, cofounder of the legendary German label and publisher Ata Tak, member of various seminal post-punk bands including D.A.F. and Der Plan, has released solo albums under his artist name from 1979 on. The Con-Struct series has its roots in Schnitzlers daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in subsequent live performances and amassed a vast sound archive. When the Berlin-based m=minimal label reissued two Conrad Schnitzler albums in 2010 and 11 (MINIMAL 001LP, MINIMAL 004LP), label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of constructing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD/LP), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzlers unique world of sound. Andreas Reihse (Kreidler) was responsible for the second installment in 2013 (MINIMAL 014CD/LP), and now Strüver has chosen Pyrolator to assume Schnitzlers mantle. A few words from Pyrolator: "It was a great honour for me to be asked to curate an edition of the Con-Struct series. Conrads work is simply too important to turn down such an offer. The guidelines for the Con-Struct series require the curator to select individual tracks which Conrad had used in his live shows and rearrange them to create something new. I must admit, I could not resist the temptation to add one or two of my own ideas. The original tracks were so inspiring, I just had to. My prime objective was to present a side of Conrad which I had always heard in his music but one which often goes unnoticed: a darker, technoid side. In my opinion, Conrad has always been one of the great pioneers of classic Berlin techno music. I look forward to many more chapters in the Con-Struct collection. Conrads oeuvre is so extensive and so diverse that many more fascinating aspects await discovery.” - Bureau B.

Artist: SCHNITZLER/PYROLATOR, CONRAD
Title: Con-Struct
Format: CD
Label: Bureau B
Country: Germany
Price: $19.00
"Conrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germanys electronic music avant-garde. A student of Joseph Beuys, he founded Berlins 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 released countless solo albums. Pyrolator, born Kurt Dahlke in 1958, cofounder of the legendary German label and publisher Ata Tak, member of various seminal post-punk bands including D.A.F. and Der Plan, has released solo albums under his artist name from 1979 on. The Con-Struct series has its roots in Schnitzlers daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in subsequent live performances and amassed a vast sound archive. When the Berlin-based m=minimal label reissued two Conrad Schnitzler albums in 2010 and 11 (MINIMAL 001LP, MINIMAL 004LP), label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of constructing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD/LP), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzlers unique world of sound. Andreas Reihse (Kreidler) was responsible for the second installment in 2013 (MINIMAL 014CD/LP), and now Strüver has chosen Pyrolator to assume Schnitzlers mantle. A few words from Pyrolator: "It was a great honour for me to be asked to curate an edition of the Con-Struct series. Conrads work is simply too important to turn down such an offer. The guidelines for the Con-Struct series require the curator to select individual tracks which Conrad had used in his live shows and rearrange them to create something new. I must admit, I could not resist the temptation to add one or two of my own ideas. The original tracks were so inspiring, I just had to. My prime objective was to present a side of Conrad which I had always heard in his music but one which often goes unnoticed: a darker, technoid side. In my opinion, Conrad has always been one of the great pioneers of classic Berlin techno music. I look forward to many more chapters in the Con-Struct collection. Conrads oeuvre is so extensive and so diverse that many more fascinating aspects await discovery." - Bureau B.

Artist: TIETCHENS, ASMUS
Title: Biotop
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"In retrospect, we might suspect that Asmus Tietchens was deliberately leading us up the garden path with the discordant pseudo-pop of his early musical productions. Four albums between 1981-1983 and a handful of individual pieces comprise the Zeitzeichen (time signal) phase which, in the words of their creator, was characterized by the implementation of rhythmic-harmonic set pieces and gaudy record sleeves. These albums do indeed feature elements of the noisy-abstract structures which Tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. Yet to understand Zeitzeichen as a period of transition, a mere curiosity, would be wide of the mark. Günter Körber released the Biotop, Spät-Europa, In die Nacht, and Litia albums on Sky Records. His label specialized in contemporary electronic music, often cosmic or Kraut-like, but also offered a platform to un-agitated cryptic experiments. Tietchens was well-acquainted with the Sky program, both as a listener and through personal friendships -- with Dieter Moebius, Hans-Joachim Roedelius, andMichael Rother; hence, establishing contact presented little difficulty. Sixteen tracks had been produced for Biotop but, in 1980, saw no genuine prospect of a release, so signing to Sky was a logical move. The Sky series is markedly different, surprisingly so, from the debut album Nachtstücke, rife with soft rhythms and harmonic bliss, as Tietchens acknowledges today. Not something which can be said of Biotop. In keeping with the sleeves garish color scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. But there was more than ironic intent in the disjointed rhythms and sliding melodies. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. Biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. The hectic piece Moderne Arroganz is notable for a voice listing types of insurance; from behind this unbeatable idiocy, a critical reflex emerges which can be taken as social commentary -- it is no coincidence that Sauberland resounds with squeaky absurdity, taking itself none too seriously. One would not be wrong, therefore, to divine the artist finding himself in the banefully-piercing title-track, which rejects the alleged harmlessness of the album, a contrary Im here too, attenuated only by the remark lets see how things go. But Tietchens half hoping, half skeptical stance -- underlined as an endless groove on the initial pressing -- proved unfounded." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Biotop
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Comes on 180 gram vinyl. In retrospect, we might suspect that Asmus Tietchens was deliberately leading us up the garden path with the discordant pseudo-pop of his early musical productions. Four albums between 1981-1983 and a handful of individual pieces comprise the "Zeitzeichen" (time signal) phase which, in the words of their creator, was characterized by the implementation of "rhythmic-harmonic set pieces and gaudy record sleeves." These albums do indeed feature elements of the noisy-abstract structures which Tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. Yet to understand "Zeitzeichen" as a period of transition, a mere curiosity, would be wide of the mark. Günter Körber released the Biotop, Spät-Europa, In die Nacht, and Litia albums on Sky Records. His label specialized in contemporary electronic music, often cosmic or Kraut-like, but also offered a platform to un-agitated cryptic experiments. Tietchens was well-acquainted with the Sky program, both as a listener and through personal friendships -- with Dieter Moebius, Hans-Joachim Roedelius, and Michael Rother; hence, establishing contact presented little difficulty. Sixteen tracks had been produced for Biotop but, in 1980, saw no genuine prospect of a release, so signing to Sky was a logical move. The Sky series is markedly different, surprisingly so, from the debut album Nachtstücke, rife with "soft rhythms and harmonic bliss," as Tietchens acknowledges today. Not something which can be said of Biotop. In keeping with the sleeves garish color scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. But there was more than ironic intent in the disjointed rhythms and sliding melodies. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. Biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. The hectic piece "Moderne Arroganz" is notable for a voice listing types of insurance; from behind this "unbeatable idiocy," a critical reflex emerges which can be taken as social commentary -- it is no coincidence that "Sauberland" resounds with squeaky absurdity, taking itself none too seriously. One would not be wrong, therefore, to divine the artist finding himself in the banefully-piercing title-track, which rejects the alleged harmlessness of the album, a contrary "Im here too," attenuated only by the remark "lets see how things go." But Tietchens half hoping, half skeptical stance -- underlined as an endless groove on the initial pressing -- proved unfounded." -Bureau B.

Artist: TIETCHENS, ASMUS
Title: Der fünfte Himmel
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. Between 1981 and 1983 Asmus Tietchens released four albums on the Sky Records label, fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality. The "pseudo-pop" epithet reflected their frequently ironic air. All four records have been reissued by Bureau B in their original form. What remained may be found on this collection. Der fünfte Himmel ("The Fifth Sky") retrieves those pieces which were denied a place on the original LPs, although clearly cut from the same contextual cloth. Quality control was not behind their relegation to the archive, but rather their eccentric and, at times, outlandish character. "Futurum drei" is patently a bridge to Tietchens debut album Nachtstücke, recorded back in 1978, while "Soirée" and "Zum Tee bei Frau Hilde" were originally -- in a completely different guise -- designed to form the basis of the Experimentelle Geselligkeit album, ultimately shelved. The titles themselves are interesting: "Würgstoffe" ("Wirkstoffe") and "Niedermacher" ("Liedermacher") are further evidence of Tietchens penchant for wordplay, even though the composer today admits that these rather corny jokes no longer seem quite so witty. In addition to this promenade through the outskirts of the "Zeitzeichen phase" (or "Sky phase"), Der fünfte Himmel includes tracks which could have constituted a further album on Sky Records. Tietchens was working ahead of himself as his contract covered just four albums and sales were in sharp decline. Moreover, his musical direction had shifted to accommodate a far less rugged sound and a broader range of musical tools. If these pieces share a link to the strategies of previous works, it is a tenuous one. This would probably have been enough in itself to preclude a continuation of the series, as the material veered so far away from the Sky label line." - Bureau B.

Artist: TIETCHENS, ASMUS
Title: In die Nacht
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. Bureau B reissues Asmus Tietchens third solo album on Sky Records, originally released in 1982. It stands to reason that any musical journey undertaken by a skeptic like Asmus Tietchens is destined to head into the night (In die Nacht) rather than into the day. In die Nacht, the third album in the so-called time signal ("Zeitzeichen") phase, continuing in the same vein as Biotop (BB 141CD/LP) and Spät-Europa (BB 142CD/LP), while laying down its own stylistic markers, no doubt attributable to the sizeable challenges facing the composer. Time, or the lack thereof, was the most pressing concern. With only a few weeks available in which to produce the record, he had to rein in his ambition. In the past, Tietchens had seldom allowed tracks to exceed three minutes in length, avoiding the effect of "musical drift"; hence, the ideas came thick and fast on his previous two albums. This time around, in creative terms -- and with all due meticulousness -- he needed to be more economical. Four of the tracks turned out far wider-ranging than they might have done under different circumstances. Ironically, these are the very pieces which lend the album its enduring character. The exuberantly stumbling rhythm of "Höhepunkt kleiner Mann" is as typical as the dark mood of the title-track, although jaunty and highly-charged tones creep into the latter. "Regenwald," on the other hand, carries the listener off to a magical sonic setting, a hypnotic allure underneath pulsating rhythms. Such a display of color is akin to the atmosphere of Max Ernsts jungle paintings. In technical terms, In die Nacht differed notably from its predecessors as Tietchens now had access to a Polymoog, enabling him to play chords. The Minimoog and rhythm machine he had used until then were deliberately pushed into the background; the drum machine in particular was drastically taken out of the mix. The creative versatility of this relatively modest equipment still appears remarkable today." -Bureau B.

Artist: TIETCHENS, ASMUS
Title: In Die Nacht
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B reissues Asmus Tietchens third solo album on Sky Records, originally released in 1982. It stands to reason that any musical journey undertaken by a skeptic like Asmus Tietchens is destined to head into the night (In die Nacht) rather than into the day. In die Nacht, the third album in the so-called time signal ("Zeitzeichen") phase, continuing in the same vein as Biotop (BB 141CD/LP) and Spät-Europa (BB 142CD/LP), while laying down its own stylistic markers, no doubt attributable to the sizeable challenges facing the composer. Time, or the lack thereof, was the most pressing concern. With only a few weeks available in which to produce the record, he had to rein in his ambition. In the past, Tietchens had seldom allowed tracks to exceed three minutes in length, avoiding the effect of "musical drift"; hence, the ideas came thick and fast on his previous two albums. This time around, in creative terms -- and with all due meticulousness -- he needed to be more economical. Four of the tracks turned out far wider-ranging than they might have done under different circumstances. Ironically, these are the very pieces which lend the album its enduring character. The exuberantly stumbling rhythm of "Höhepunkt kleiner Mann" is as typical as the dark mood of the title-track, although jaunty and highly-charged tones creep into the latter. "Regenwald," on the other hand, carries the listener off to a magical sonic setting, a hypnotic allure underneath pulsating rhythms. Such a display of color is akin to the atmosphere of Max Ernsts jungle paintings. In technical terms, In die Nacht differed notably from its predecessors as Tietchens now had access to a Polymoog, enabling him to play chords. The Minimoog and rhythm machine he had used until then were deliberately pushed into the background; the drum machine in particular was drastically taken out of the mix. The creative versatility of this relatively modest equipment still appears remarkable today." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Litia
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version, on 180 gram vinyl. Released in 1983, the Litia album concluded Asmus Tietchens études phase and bid a farewell to rhythmic synths -- well, almost. All the signs of "pseudo pop" as heard on Biotop (BB 141CD/LP), Spät-Europa (BB 142CD/LP), and In die Nacht resurfaced: squeaky sounds and protracted, rattling rhythms grouped into abstract forms through their accentuated artificiality. Sporadic noisiness is as much a part of it as is a winking gesture, which should not detract from the basic sobriety of the work, however. Musik aus dem Aroma Club (1998) is Tietchens first openly-parodic work, not that he had ever lacked humor. Take the plays on words in his titles, with "Unterhaltungsmusik" mutating to "Unterhaltsmusik" ("light" music becomes "livelihood" music) or the appropriation of terminology from respiratory medicine ("Nebulizer" is another word for an atomizer). The banality of everyday life proves itself to be unconquerable: "Auf Elf" ("On Eleven") refers to the fact that the piece is archived on a tape with the number 11 -- nothing more profound than that. What sets Litia apart from its three predecessors is the wider pool of instruments at Tietchens disposal. For the first time, he had a digital rhythm machine which could play samples; then there was the Korg Polysix synthesizer, a hybrid of analog and digital technology. The polyphonic transition piece could not actually create samples, but could at least simulate the sounds of instruments. As the Korg Polysix and rhythm machine could be synchronized, "a whole new world of sound" beckoned. Günter Körber of Sky Records exited the scene after Litia, as Tietchens turned his attention to "rhythmic-harmonic set pieces." It was not until 1996 that Rattenheu was issued, featuring material which dated back to 1984 and now -- augmented by further tracks from this period -- representing the fifth "Zeitzeichen" album to be reissued by Bureau B." - Bureau B.

Artist: TIETCHENS, ASMUS
Title: Litia
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Released in 1983, the Litia album concluded Asmus Tietchens études phase and bid a farewell to rhythmic synths -- well, almost. All the signs of "pseudo pop" as heard on Biotop (BB 141CD/LP), Spät-Europa (BB 142CD/LP), and In die Nacht resurfaced: squeaky sounds and protracted, rattling rhythms grouped into abstract forms through their accentuated artificiality. Sporadic noisiness is as much a part of it as is a winking gesture, which should not detract from the basic sobriety of the work, however. Musik aus dem Aroma Club (1998) is Tietchens first openly-parodic work, not that he had ever lacked humor. Take the plays on words in his titles, with "Unterhaltungsmusik" mutating to "Unterhaltsmusik" ("light" music becomes "livelihood" music) or the appropriation of terminology from respiratory medicine ("Nebulizer" is another word for an atomizer). The banality of everyday life proves itself to be unconquerable: "Auf Elf" ("On Eleven") refers to the fact that the piece is archived on a tape with the number 11 -- nothing more profound than that. What sets Litia apart from its three predecessors is the wider pool of instruments at Tietchens disposal. For the first time, he had a digital rhythm machine which could play samples; then there was the Korg Polysix synthesizer, a hybrid of analog and digital technology. The polyphonic transition piece could not actually create samples, but could at least simulate the sounds of instruments. As the Korg Polysix and rhythm machine could be synchronized, "a whole new world of sound" beckoned. Günter Körber of Sky Records exited the scene after Litia, as Tietchens turned his attention to "rhythmic-harmonic set pieces." It was not until 1996 that Rattenheu was issued, featuring material which dated back to 1984 and now -- augmented by further tracks from this period -- representing the fifth "Zeitzeichen" album to be reissued by Bureau B." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Nachtstucke
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. Nachtstücke owed its publication to former Tangerine Dream member Peter Baumann, who was asked by the French label Barclay/EGG to produce three albums focusing specifically on German electronic music. He was working with Hans-Joachim Roedelius at the time, who had been given a few Tietchens tracks on cassette. When Baumann heard Roedelius play them in the studio during a break in proceedings, they sparked his interest and he met up with Tietchens some time later; they agreed that he would go over the material again and edit or abridge it in places. A release date was penciled in for the latter part of 1978. The commissioning label, however, doubting the commercial potential of the project (Tietchens: "How right they would turn out to be"), postponed the release and had to be reminded of contractual commitments on more than one occasion. When the Nachtstücke LP finally appeared, almost two years later, it bore the unauthorized subheading "Expressions et Perspectives Sonores Intemporelles," and featured a completely different cover. Originally, the album was to depict a leathery embryo with a laser beam shooting through its eye (Tietchens: "I liked the idea of starting with something so gruesome"), but now three blurred figures danced on the sleeve: "I was pretty disgusted when I opened the package containing my copies," Tietchens reports, taking the re-release as his cue to create completely new artwork. Nachtstücke has surprisingly little in common with the pseudo-pop of the ensuing Sky Phase, but shines a light further ahead to the gloomy, spectral aspects of Tietchens later works. Created between 1975 and 1978, the Nachtstücke pieces reveal a deliberate approach, avoiding dissonance and discord wherever possible. Still, the release saw the album "fall right out of time" as Tietchens frankly admits: "Gentle rhythm and harmonic beatitude did not suit the concert of advanced pop music as it was then being played." Nevertheless, the Nachtstücke tracks remain important to the artist, as they document his early encounters with the Moog Sonic Six and Minimoog. With this in mind, the material is presented here in its original, unadulterated form." - Bureau B.

Artist: TIETCHENS, ASMUS
Title: Spat-Europa
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"While Asmus Tietchens planned to head off into the future (In die Zukunft) with Biotop (1981), Spät-Europa witnesses his arrival. Released on Sky Records in 1982, the second album in the Zeitzeichen phase not only continued in the style of its predecessor, it managed to refine it a little more precisely. Spät-Europa also conveys a banefully distorted pseudo-pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue-in-cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon-colored pieces, indicative of the artists parallel lines of development. What is new on Spät-Europa is a greater concentration of form, concise and pointed in the sense of musical economy. Tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the miniatures lasted exactly two minutes. Nevertheless, he only missed his ideal target by a few seconds here and there. The concept of Biotop as an album of 20 tracks two minutes long recalls the Residents Commercial Album (1980) which contains 40 tracks, each a minute in length -- although these were designed to be played in groups of three in order to create a regular pop song. Tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the American band, having organized crusades for their albums at this time. Traces of their influence may be discernible, but Tietchens has placed them in an entirely new context. Like Biotop, Spät-Europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. Epitaph introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. But the headstone etched in readiness to mark his musical career proved unnecessary -- before the year was out, Günter Körber had requested a further album for his Sky label. This would be the opus entitled In die Nacht." - Bureau B

Artist: TIETCHENS, ASMUS
Title: Spat-Europa
Format: LP
Label: Bureau B
Country: Germany
Price: $22.00
"Comes on 180 gram vinyl. While Asmus Tietchens planned to head off "into the future" ("In die Zukunft") with Biotop (1981), Spät-Europa witnesses his arrival. Released on Sky Records in 1982, the second album in the "Zeitzeichen" phase not only continued in the style of its predecessor, it managed to refine it a little more precisely. Spät-Europa also conveys a banefully distorted pseudo-pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue-in-cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon-colored pieces, indicative of the artists parallel lines of development. What is new on Spät-Europa is a greater concentration of form, concise and pointed in the sense of musical economy. Tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the "miniatures" lasted exactly two minutes. Nevertheless, he only missed his ideal target by a few seconds here and there. The concept of Biotop as an album of 20 tracks two minutes long recalls the Residents Commercial Album (1980) which contains 40 tracks, each a minute in length -- although these were designed to be played in groups of three in order to create a regular "pop song." Tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the American band, having "organized crusades" for their albums at this time. Traces of their influence may be discernible, but Tietchens has placed them in an entirely new context. Like Biotop, Spät-Europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. "Epitaph" introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. But the headstone etched in readiness to mark his musical career proved unnecessary -- before the year was out, Günter Körber had requested a further album for his Sky label. This would be the opus entitled In die Nacht." -Bureau B.

Artist: TROSTEL, ROLF
Title: Der Prophet
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Bureau B reissue Rolf Trostels Der Prophet (1982). Electronic pop was the musical goal of the Berlin School musician Rolf Trostel on Der Prophet, which was released in the same year as its predecessor Two Faces. Der Prophet is the culmination of this phase of Trostels oeuvre, which was tightly coupled to the PPG Wave Computer. As on his previous releases, the sonic peculiarities and clanking sounds of wavetable synthesis are emphasized. Yet here they are obviously more interlinked with the rhythm computer, the Minimoog solo synthesizer and the analog string synth. Additionally, Trostel spatially layered the sounds with different amounts of reverb, which gives the sound the necessary depth for electronic pop and especially emphasizes dry effect sounds. Compared to the previous albums, simpler sequencer lines with less layering provide for a more airy sound. The reason for this was the fact that Trostel had now replaced his PPG 350 Computer Sequencer and Roland CR-78 drum machine with the Roland TB-303 bass synth and step sequencer and the TR-808 drum machine. This at-the-time brand new equipment formed a dream team for electronic pop - the machines are now highly coveted and sought-after cult objects among musicians. "With this production, the rhythmic element is at the foreground, specifically the variable programming of drum computer. Der Prophet was my most commercial production," explains Trostel. The album also benefits from the assertive sound of the TB-303/TR-808 combination and their sync-able sequencers. By 1981, Trostel was no longer using the PPG Wave Computer 360 A as a spearhead to explore new soundscapes. It had been replaced by more modern developments. Wolfgang Palm, the developer of this synthesizer and inventor of wavetable synthesis, presented the PPG Wave 2 with integrated analog filters, which quickly became a best seller and was further developed until 1984 with the PPG Wave 2.3. It was a mainstay in every professional keyboardists setup during the 1980s. In parallel, the functions of sampling, phase and frequency modulation became increasingly important for sound tinkerers. In retrospect, one gets the impression that Trostels enormously productive creative period, during which he released three albums within two years, was triggered by the PPG 360 A Wave Computer and the PPG 350 Computer Sequencer and concluded when they became obsolete. To a certain extent, these instruments channeled and conveyed Trostels classical piano training.” - Bureau B.

Artist: TROSTEL, ROLF
Title: Inselmusik
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Bureau B reissue Rolf Trostels Inselmusik (1981). Rolf Trostel is a protagonist of the so-called Berliner Schule, or Berlin School (Tangerine Dream, Klaus Schulze). On his first album Inselmusik, he explores the sonic possibilities of the recently introduced PPG wavetable synthesizer. The music is based on live performances from the late 1970s by Trostel and Krautrock guitarist Günter Schickert. Formally speaking, Inselmusik is a demonstration of the PPG Wave Computer 360, a synthesizer. Rolf Trostel had worked briefly as a distributor for the manufacturer, affording him ample opportunity to play the instrument for presentation purposes. In terms of content, Inselmusik is minimalist, meditative and contemplative music, enriched with remarkable choral sounds, flutes and effects. Overlapping sequencer lines and dominant expanses with feel-good harmonies are carried along on calm, soothing beats. Trostel described his music at the time as "Klangfarbenkompositionen" - tonal, textural compositions. Wavetable synthesis is commonplace now - in considerably advanced form - and integrated in many soundcards or digital synthesizers. The version which featured in the PPG Wave Computer 360 was purist, to say the least. The clanging tones it created could be harsh or brittle at times. This highly distinctive sound, particularly in combination with the charming Roland CR-78 CompuRhythm drum machine amounted to a real surprise package back then. The latters mighty kick has stood the test of time, sounding no less powerful today. Our ears have long since grown used to digital sounds and patterns crafted with wavetable technology. But the filterless, purist methodology deployed here serves to emphasize the works unique sonic qualities. Inselmusik thus allows us to grasp just how astonishing these often raucous sounds must have seemed when first unleashed. Trostels early releases have legitimately assumed the status of valuable contemporary documents, rarities amongst the few albums which illustrate how the sonic pioneer of wavetable synthesis played such a fundamental role in sonic development; Rolf Trostel recorded Inselmusik exclusively with this very synthesizer, a corresponding sequencer and CR-78 drum computer in his own home studio. The original pressing of 1000 LPs sold out in no time, encouraging Trostel to continue.” - Bureau B.

Artist: TROSTEL, ROLF
Title: Two Faces
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
“Bureau B present a reissue of Rolf Trostels second albumTwo Faces, originally released in 1982. While Inselmusik (BB 230CD/LP), released the previous year, was intended as a basis for live performance, Trostel composed and produced the five instrumental tracks on Two Faces exclusively for this album. The music is clearly a product of the Berlin School, yet it is more sophisticated and varied than its predecessor. Some new additions to Trostels instrument collection are audible. While on its predecessor the still novel strains of the PPG Wave Computer 360 A and its associated sequencer were augmented only by a Roland CR-78 CompuRhythm drum machine, resulting in a fairly puristic sound, the sonic pallet on Two Faces is enhanced by the Minimoog solo synthesizer and a string synth. The CR-78 is considered the first programmable drum machine and can be heard clearly, for example, on Phil Collinss hit "In the Air Tonight" or during the intro of the album version of Blondies "Heart of Glass". But on Two Faces Trostel uses its potentially assertive sounds relatively modestly and often in the background - surely so as not to steal the show from the wavetable sounds. As with Inselmusik, Two Faces uses numerous synth runs that harness the possibilities of PPG 350 Computer Sequencer, which are layered to complement each other and often also define the chord progressions and song structure. The digital PPG sequencer offered some innovative features for this: The musician could invert the notes of a sequence with the press of a button or use the keyboard to transpose the sequence either at the end of each note or each loop. Of course, in addition to the PPG 360 Wave Computer A, it could also be used to control analog synthesizers. Synchronizing with tape machines was also not a problem. In comparison to Inselmusik, Rolf Trostel himself felt thatTwo Faces was more versatile and aggressive and "away from the idea of meditation, but without entirely abandoning contemplative structures." The first edition of this self-produced long player amounted to 2000 copies, which Trostel distributed himself.” - Bureau B.

Artist: V/A
Title: Magnetband: Experimenteller Elektronik-Underground DDR 1984-1989
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Inspired by punk and post punk, vibrant scenes dedicated to independent self-actualization by means of self-distributed cassettes - the cheapest and fastest medium - were developing on each side of the Cold Wars confrontational line. Albeit, under quite different circumstances. While there was a DIY euphoria in the West, which would also have had ideological motives, subcultures in the East simply had no other means. Even the first act of replication meant moving into illegal territory, since every duplication had to be authorized by State authorities, just like anything else. The protagonists - musicians, painters, poets, filmmakers, performers - crossed genres and jumped back-and-forth between various styles. Disillusioned, and often ready to jump towards the West, these border crossers defined themselves rather somewhere between non- and anti-political, pursuing self-actualization strategies by means of an extended niche existence. They took refuge in the search for ways of creative self-assertion and communication, looking out in sensual despair, utilizing sounds of rage, linguistic wit and a passion for tinkering. Driven by ubiquitous boredom, equipped with plenty of time and free of economic restraints (or rather possibilities), labor was performed with no regard to the final product, hardly documented and almost never published. With the partial opening of State-controlled media and cultural sites accompanying the beginning agony of the State, conditions changed. Suddenly there was radio airplay of supposedly illegal cassettes and weird noise performed at Palast Der Republik. In the end, full albums by these "other bands" were released on the State-owned label AMIGA. The collapse following soon after relieved the activists remaining in the country who continually had to re-position themselves. Many took different roads, some leading to Rammstein, others to Raster-Noton or groups like To Rococo Rot and Tarwater. The artifacts from that era tell of a stance of refusal in practice. Between being excluded and self-exclusion, truly wayward sounds and means of expression were developed. Bert Papenfuß, Ronald Lippok, Bernd Jestram and Bo Kondren compiled two companion CDs accompanying the long sold-out Zonic special edition Spannung. Leistung. Widerstand. Magnetbanduntergrund DDR 1979-1990, released in 2006, of which the more experimental-electronic pieces are herewith available on the music market for the first time. Features: A. F. Moebius, Kriminelle Tanzkapelle, Heinz & Franz, Magdalene Keibel Combo, Choo Choo Flame, Stoffwechsel, Corp Cruid, Taymur Streng/Ornament & Verbrechen, Der Demokratische Konsum, Gesichter, Ihr Arschlöcher, Aponeuron, and Robert Linke." - Bureau B.

Artist: V/A
Title: Sammlung: Elektronische Kassettenmusik, Dusseldorf 1982-1989
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Post-war apartments dominated the views of Düsseldorf in the early 1980s - cement slabs, the "art bunker" known as the Kunsthalle, and the elevated railway called "The Millipede". Yet reconstruction was in full swing - bank buildings on the "Kö" received postmodern interiors, the old town became stylishly retro-rustic, and advertising agencies displaced industrial companies. Music took all of this on. Punk was finished, but its pathos drifted through pubs and shared flats. At the same time, synthesizers, due to digital electronics, had become increasingly affordable. This music pushed ahead slightly in order to dock onto the electronic sounds of the 1970s krautrock. But most chose the detour via records by Cabaret Voltaire, Throbbing Gristle, or the more unfamiliar experimental sounds on the The Elephant Table Album compilation (1983). Cassettes from labels, like Klar! 80, were available on Aachener Straße. LPs, like those found at Pure Freude on Derendorfer Straße, were also available. This shop served as an umbrella for the disparate strands of the electronic side of post punk. Almost all artists on this compilation could be seen there. Perhaps that is why the encounter with "Electronic Cassette Music" seems like a glimpse into a mysterious parallel world. Indeed, everyone knew of each other, but often only as a name. Kurzschluss was Catherine Ledits project. Where her threatening pads had an almost meditative character, Dirk Grützmanns Le Petit Mort drew listeners into virtually occult scenarios, not far from Current 93. Ledit and Grützmann later collaborated as the duo Temps Perdu?. Trance, as propagated by Chris & Cosey, could have been the inspiration behind the duo Wooden Barrows. Isolated searching found expression in forms of deviant sexuality - a leitmotif in those days. Its astonishing how subtly many of the pieces exemplify this movement. Its almost terrifying on the track by Strafe Für Rebellion when a voice whispers "the cashbox is empty" and a staccato rhythm replaces the ticking of a clock. Ralf Dörper, on his way to international success Propaganda, saw ADD preferring him trapped in a nightmare. The cassette generation did not bother crossing over to pop music. They were pioneers of a music which would develop into drone, ambient or hypnagogic. Features: Konrad Kraft, Deux Balaines Blanches, Ettlinger, Mentocome, Frigorex, Dino Oon, Pfad Der Tugend, Kurzschluss, Wooden Barrows, Le Petit Mort, Strafe Für Rebellion, Maria Zerfall, and ADD." - Bureau B.

Artist: VON DEYEN, ADELBERT
Title: Atmosphere
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present a reissue of Adelbert Von Deyens third album Atmosphere, originally released in 1980. Album number three from electronic musician Adelbert Von Deyen marks the end of his ambient phase. Whilst Atmosphere largely swathes listeners in familiarly vast expanses of sound, the driving analog drums of the opening track (Von Deyens most successful, as it turned out) signal a shift towards electro-kraut terrain. Atmosphere showcases Adelbert Von Deyen at the peak of his powers. The opening track, "Timemachine", sees him launch into zestful electro-krautrock, aided and abetted by Wolfgang Zabba Lindner on drums. Lindner had already popped up in the early 1970s in a prog-rock combo by the name of Tomorrows Gift and recorded an interesting experimental percussion album in 1974 with Carsten Bohn (Vollbedienung Of Percussion). He can also be heard on the second piece "Silverrain" (in rather less zestful mode). A further eight tracks follow - revolving around the theme of Atmosphere - layers of synths glide slowly by, accompanied by drones which resound for minutes on end. Beats and synth FX add to the air of contemplation. A huge amount of time and money went into the production of this album. Adelbert Von Deyen composed tirelessly in his home studio, experimenting with his synthesizers and searching for new sounds. Lars Hidde added the final touches, taking care of the mix and mastering at Star Studio, Hamburg. All in all, it was worth the effort. Atmosphere proved to be Adelbert Von Deyens most successful album. In his biography he writes: "Reactions to this opus were extreme, but absolutely positive, especially in other countries. Timemachine appeared on quite a few LP and CD compilations and became an instrumental hit, the single selling around fifty thousand copies!" If Adelbert Von Deyens first two albums saw him strive for artistic and financial independence, Atmosphere marked the beginning of a metamorphosis. Atmosphere is still in the sphere of ambient electronica, but the first two tracks are indicative of a clear shift towards krautrock or electronic rock. Von Deyens next album would head off in a different direction altogether. The soft rock ballads and socially critical lyrics of Eclipse (1981) came as a complete surprise." - Bureau B.

Artist: VON DEYEN, ADELBERT
Title: Nordburg
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Bureau B present a reissue of Adelbert Von Deyens second album Nordborg, originally released in 1979. Electronic musician Adelbert Von Deyens debut and sophomore album were released just a year apart from each other. Sternzeit (BB 237CD/LP) was followed by Nordborg, which featured only one track on each side. Again, Von Deyen took his time crafting a meditative maelstrom of ambient sounds. Von Deyens debut album Sternzeit had caused quite a stir in 1978 in his home town of Lübeck, where the unconventional young artist found himself inundated with fan mail and booked for autograph sessions. His contract with Sky Records obliged him to deliver a set number of albums to the label - one per year. Enjoying financial independence, he was able to give up his job and focus exclusively on his music. Nordborg appeared in 1979 and featured just two tracks, one on each side. It was inspired by a short holiday in Nordborg on the Danish island of Alsen, which coincided with a violent blizzard. "Moonrise", the A-side title, is a slow motion improvisation on the rising of the moon on Nordborg. Opening with synths evocative of seagull cries, meditative soundscapes mesh together massive lead sounds in unhurried harmony. Winds swirl, synths twist into electronic spheres of sound, drifting without any clear dramatic structure. Immersed in introspection, Adelbert Von Deyen celebrates life in the moment. "Iceland", the B-side piece, is an acoustic interpretation of a snowstorm in Nordborg, Denmark, as remembered by Von Deyen. Perfect for Adelbert Von Deyens artistic expression: sustained organ tones deliver beat frequencies, an electric piano pattern is lost in reverie, winds build through the ARP Odyssey, finally sinking into icy melancholy and detached organ tones. Towards the end we are reconciled by an almost sacral organ part which Adelbert Von Deyen brings full circle as he returns to the opening theme. Adelbert Von Deyen recorded the second album, like the first, on a Revox A77 tape machine in his little home studio. The instrument list echoes that of Sternzeit, with an ARP Odyssey performance synthesizer, a Farfisa VIP 233 organ, a Farfisa String-Orchestra, Hohner Clavinet D6 electric piano, rhythm computer and an electric guitar." - Bureau B.

Artist: VON DEYEN, ADELBERT
Title: Sternzeit
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
“Bureau B present a reissue of Adelbert Von Deyens debut albumSternzeit, originally released in 1978. Adelbert Von Deyen is a protagonist of the so-called Berlin School (Berliner Schule) of electronic music. On his debut album, 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 Deyens 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 didnt have enough money, I asked the bank. During the day I worked as a re-toucher 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." Founded by Günter Körber 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. Sternzeit was one of the early releases on the label. In principle, many elements on this first album reappear on the two which followed: rich analog 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. When Adelbert Von Deyen performs, he sits down with his back to the audience, focused 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.” - Bureau B.

Artist: XAO SEFFCHEQUE
Title: Ja - Nein - Vielleicht Kommt Sehr Gut: A Selection Of Electronic Beats 1980-82
Format: LP + CD
Label: Bureau B
Country: Germany
Price: $24.00
Includes CD. "Austrian national Xaõ Seffcheque was at the right place at the right time: Düsseldorf at the end of the 70s was not only the nucleus of German punk, but it also enjoyed a fruitful symbiosis with the parallel development of a synthesizer-supported side-line. However, in historical retrospective, forty years after the punk big-bang and 35 years after the electronic substitute-revolution in Germany, there is the question: What impact did Palais Schaumburg, Deutsch Amerikanische Freundschaft, Liaisons Dangereuses or Der Plan expect from their music? Objet dart? Material for archaeologists? Xaõ Seffcheques music - same, but different later on with Family*5 - was all that and more: Always great everyday stuff to listen to is still the object of engagement and discourse because of its impact and the marks it left behind. This compilation, Xaõ Seffcheques electronic phase in the early 80s from both his albums Sehr Gut Kommt Sehr Gut (1981) and Ja - Nein - Vielleicht (1981), plus unreleased tracks from 1982, comes in two parts: The songs of Sehr Gut Kommt Sehr Gut are always satire, persiflage, paraphrase altogether: Reflecting his contemporaries with 80s analog equipment, this discourse always adds something new and unheard of. The fact that Seffcheque released that (fake) album as an anticipation of the Neue Deutsche Welle sell-out did shape those songs audibly by deconstructing the music of essential German bands at that time in order to reassemble them in a very sarcastic way and into a whole new context. Whereas the following album, Ja - Nein - Vielleicht was of a very different kind and Diederich Diederichsen, the pope-of-pop, had this to say about Seffcheques sequencer-meets-jazz-onomatopoetic-scat-vocals-meet-guitar-riffs in Sounds Magazine: "Xaõ Seffcheque has made his first music-record without any jokes, quotations and Kulturkritik. Music instead of cabaret. A lot of Düsseldorf negro-music with an excellent brass section and vocal effects: A winningly distorted Louis Armstrong song, a modern march-funk-pogo piece with scat vocals of a digital age, ethereous, intense experiments (in the title song Xao pleases with foreign stammering and in Du Und Ich with a girls choir from the next best solar system. In brief: a very modern record bordering on rock and disco. Defiant. Sorrowful. Tough." Bureau B present here a restored and remastered compilation of Xaos best songs from his solo phase. Cover photo by Richie Gleim, taken during a recording session in 1981. Furious non-chalance, regardless-of-the-consequences lunacy, and indestructible musical talent." - Bureau B.

Artist: YOU
Title: Electric Day
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version on 180 gram vinyl. The Bureau B label reissues Yous Electric Day, first released in 1979 on the small German label, Cain. As synthesizers grew more popular from the mid-70s onwards, an increasing number of groups swapped the classic instruments of a rock band for sequencers and synthesizers. Pioneers (and paragons) of this electronically-created music included, of course, Tangerine Dream, Klaus Schulze, Manuel Göttsching et al, who represent the "Berliner Schule" (in contrast to the Düsseldorfer Schule which developed around Kraftwerk and company). A hitherto less celebrated, yet outstanding exponent of the Berliner Schule was the Krefeld combo You. Udo Hanten and Albin Meskes teamed up with another iconic figure of electronic music, Harald Grosskopf, to issue two fantastic albums as the 1980s began. Without disowning their Berlin role models, You nevertheless came up with their own hypnotic mix of sequencer patterns, synthesizer melodies, pulsating drums and sporadic acoustic guitar phrases. Now and again they even ventured into experimental territory. Tracing Yous path from the idea of founding a band to the release of their first LP, one encounters a host of illustrious characters from the electronic/Krautrock music scene. Peter Baumann, for example, a member of Tangerine Dream for so many years, was the first to hear the material played to him by Hanten and his guitarist Uli Weber at his Paragon Studios in Berlin. They also met Harald Grosskopf here, a member of Rolf-Ulrich Kaisers "Kosmische Kuriere" and former drummer with Klaus Schulze. Grosskopf was a member of Manuel Göttschings Ashra band at the time. Which just leaves the sound engineer, the legendary Conny Plank. It was he who suggested that You and Grosskopf get together to set up the Spiegeltraum Studio in Krefeld, with Grosskopf supplying the recording gear and Hanten the musical equipment. Grosskopf completed Synthesist, his most famous work, before You recorded Electric Day halfway through 1979. It now appears with four CD-only bonus tracks on Bureau B. The musicians: Udo Hanten, Albin Meskes, Uli Weber, supported by Harald Grosskopf (using the pseudonym Lhan Gopal at the time)." -Bureau B

Artist: YOU
Title: Time Code
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version on 180 gram vinyl. The Bureau B label reissues Yous Time Code, first released in 1983 on Rock City Records. As synthesizers grew more popular from the mid-70s onwards, an increasing number of groups swapped the classic instruments of a rock band for sequencers and synthesizers. Pioneers (and paragons) of this electronically-created music included, of course, Tangerine Dream, Klaus Schulze, Manuel Göttsching et al, who represent the "Berliner Schule" (in contrast to the Düsseldorfer Schule which developed around Kraftwerk and company). A hitherto less celebrated, yet outstanding exponent of the Berliner Schule was the Krefeld combo YOU (Udo Hanten, Albin Meskes). Their debut album Electric Day immediately launched YOU into the elite echelon of Germanys electronic music scene. It would take four years for them to deliver their sophomore LP, entitled Time Code. If Electric Day was characterized by Harald Grosskopfs pulsating drums and Uli Webers solo guitar, Time Code emerged as an altogether more electronic affair, with both Grosskopf and Weber having left the project. Reduced to a duo, YOU largely remained faithful to their style, but expanded upon it. Time Code displays more range and variation than its predecessor. Downtempo and faster numbers alternate and sugar-sweet melodies are followed by expanses of ominously dark or crystal-clear synthesizers. Hanten and Meskes new sound was further refined by the use of drum computers and the omission of guitar. The album perfectly illustrates the transition of electronic music from the 1970s to the 1980s. Sequencer patterns owe much to the legacy of the Berlin School (Berliner Schule), while the synthesizer and drum computer sounds heralded the advent of the new decade. The level of interest and excitement was particularly high in Italy, where songs from the album featured heavily on the radio. Listeners were clearly impressed by "Live Line," which has resurfaced in various techno productions over the past 20 years, either as a cover (by Diolac Duvai, for example), or as "Elektro Message" (by Gigi DAgostino)." -Bureau B

Artist: YOUNG, DENNIS
Title: Wave: Electronic Music 1984-1988
Format: LP
Label: Bureau B
Country: Germany
Price: $23.00
"Dennis Young is best known as the percussionist of the New York band Liquid Liquid, who are themselves known for their 1983 track "Cavern," sampled the same year by Grandmaster Flash for "White Lines." In parallel to his work with Liquid Liquid, Young produced his own solo work, including three cassettes released between 1985 and 1988 that form his tribute to the pioneers of electronic music. Wave: Electronic Music 1984-1988 contains the best pieces from these cassettes, as selected by Young himself. Those who dont know otherwise might guess that this music originated in the 70s." - Bureau B.
"My love for electronic music goes back to the late 70s when I decided to buy my first synthesizer, a rare used vintage Davolisint made in Italy, after seeing Keith Emerson perform live with ELP. This lead to my discovery of more electronic music artists using synthesizers such as Klaus Schulze, Tim Blake, Larry Fast, Edgar Froese, Brian Eno, and Cluster just to name a few. My musical challenge was then to create my own electronic music using this instrument. After experimenting in the early 80s with live recordings using a reel to reel tape machine I purchased my first multi-track recording system in 1984. When Liquid Liquid was on hiatus I was able to devote full time to this music and do professional recordings at my home studio in Edison, New Jersey. I added more synthesizers to include a Korg Mono/Poly, a Korg Poly Six, a Moog Rogue, and later the Korg M1. Every track was put through various delay and reverb units and I added vocal parts and along with guitar where I felt it was needed. The music resulted in three now out of print cassette only recordings entitled Concepts (1985), Reflections (1987), and Quest (1988). They were all mixed at Gabriel Farm studios in Princeton, New Jersey, with the help of Andrew Gomory who owned the studio and who himself was a keyboardist. Thanks to Bureau B I have been able to go back in time to put together what I feel are the best songs from that era for you the listener to enjoy." - Dennis Young.

Artist: YOUNG, DENNIS
Title: Wave: Electronic Music 1984-1988
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Dennis Young is best known as the percussionist of the New York band Liquid Liquid, who are themselves known for their 1983 track "Cavern," sampled the same year by Grandmaster Flash for "White Lines." In parallel to his work with Liquid Liquid, Young produced his own solo work, including three cassettes released between 1985 and 1988 that form his tribute to the pioneers of electronic music. Wave: Electronic Music 1984-1988 contains the best pieces from these cassettes, as selected by Young himself. Those who dont know otherwise might guess that this music originated in the 70s." - Bureau B.
"My love for electronic music goes back to the late 70s when I decided to buy my first synthesizer, a rare used vintage Davolisint made in Italy, after seeing Keith Emerson perform live with ELP. This lead to my discovery of more electronic music artists using synthesizers such as Klaus Schulze, Tim Blake, Larry Fast, Edgar Froese, Brian Eno, and Cluster just to name a few. My musical challenge was then to create my own electronic music using this instrument. After experimenting in the early 80s with live recordings using a reel to reel tape machine I purchased my first multi-track recording system in 1984. When Liquid Liquid was on hiatus I was able to devote full time to this music and do professional recordings at my home studio in Edison, New Jersey. I added more synthesizers to include a Korg Mono/Poly, a Korg Poly Six, a Moog Rogue, and later the Korg M1. Every track was put through various delay and reverb units and I added vocal parts and along with guitar where I felt it was needed. The music resulted in three now out of print cassette only recordings entitled Concepts (1985), Reflections (1987), and Quest (1988). They were all mixed at Gabriel Farm studios in Princeton, New Jersey, with the help of Andrew Gomory who owned the studio and who himself was a keyboardist. Thanks to Bureau B I have been able to go back in time to put together what I feel are the best songs from that era for you the listener to enjoy." -Dennis Young.

Artist: ZIGURI
Title: Ziguri
Format: LP
Label: Bureau B
Country: Germany
Price: $27.00
"Ziguri [tsiguri]": In the Mexican Tarahumara language the word for Peyote cactus, containing the hallucinogenic alkaloid mescaline. Günter Schickert has built a reputation and following amongst friends of psychedelic music. He and Manuel Göttsching pioneered the use of the echo guitar. The solo albums Samtvogel (1974) and Überfällig (1979) have attained cult status. In 1987 Schickert founded Ziguri Ego Zoo with Udo Erdenreich and Dieter Kölsch -- friends from the Berlin theater 100 Fleck, a musical theater project which soon evolved into the band with the name Ziguri. Ziguri initially rehearsed in SO36, the legendary punk club in Berlin-Kreuzberg (subsequently finding themselves entangled in the street riots on Oranien Strasse which were a regular occurrence at the time). Their first gigs took place in squats, at street parties or underground clubs, before graduating to venues like Tacheles, Der Eimer and Schokoladen. Ziguri continued playing in this format until 1997, after which only the theater project remained, lasting until 2002. The three band members went their separate ways in the years that followed, signing up to new bands. Kölsch played with Schickert in Ponyhof and with Erdenreich in the punk combo Hagel. Both used the same rehearsal space, so the trio often found themselves gathering around in the original line-up. One evening, the famous words were spoken: "Lets put the band together again." That was in 2011. And from the first moment on, it was like they have never been apart. Picking up exactly where they have left off, Kölsch and Erdenreich hammered out a driving rhythm and Schickert layered his unique echo patterns over the top. They road-tested their live set at two concerts with Damo Suzuki (Can). As Ziguri played further shows, it dawned on them that younger listeners had bolstered up their audience, strengthening the bands decision to revive the act. Ziguri enlisted Dirk Dresselhaus as producer, better known as artist Schneider TM. The album was recorded in Schneider TMs Zone studio in just three days.” - Bureau B.

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label