Bureau B

  • 01. Day Tripper
    02. Mr. X / Modern Technology
    03. Ricky's Hand
    04. I'm Your Money / Tora Tora Tora
    05. Cold
    06. Day Tripper (Instrumental)
    07. Mr. X / Modern Technology (Instrumental)
    08. Ricky's Hand (Instrumental)
    09. I'm Your Money / Tora Tora Tora (Instrumental)
    10. Cold (Instrumental)



    [engl] Under the name AREU AREU, the two CAMOUFLAGE musicians Heiko Maile and Marcus Meyn released a 5-track EP in 1992, which is now being re-released in an extended version and for the first time on vinyl. In 1991, a friend and companion of Heiko Maile and Marcus Meyn, the photographer Reiner Pfisterer, celebrated his 24th birthday. Instead of records or books, the two CAMOUFLAGE founders planned to present the birthday child with a performance by a band formed especially for the occasion and launched AREU AREU. After CAMOUFLAGE had just released their rather acoustic sounding album "Meanwhile", Maile and Meyn were more in the mood for purely electronic music, so this side project was just what they needed to play around with the electronic gear they had accumulated in their studio in the centre of the small town of Bietigheim in southern Germany. The result were cover versions of songs that had always strongly influenced Maile and Meyn: We hear "Day Tripper" (BEATLES), "Cold" (THE CURE), FAD GADGET's "Ricky's Hand" and a two-song medley of "I'm Your Money" (HEAVEN 17) and the DEPECHE MODE classic "Tora! Tora! Tora!". In addition, several versions of their legendary German-language song "Mr. X" were worked out. A few weeks after the party, Maile and Meyn told their A&R manager about the project, and in 1992 a small number of tracks were released in a small edition on CD. On the occasion of the 30th anniversary of this release, the complete work of AREU AREU now appears on an album for the first time and we can state: AREU AREU created the perfect soundtrack for a party in the hot summer of 91: AREU AREU are danceable, unpolished and wild.
    LP red
    EAN 4015698141382
    EAN 4015698141382
  • 01. Tokamak
    02. Rompecristales
    03. Eiweißangriff
    04. Gegenwelt
    05. Trippeltanz
    06. Flucht zum Mars
    07. Geometrischer Glanz
    08. Transformator Matki Polki

    CEL (Felix Kubin & Hubert Zemler)


    [engl] Gegenwelt (Parallel World) is the second LP by CEL, a duo Kubin and Zemler formed. More melodically- evolved than their eponymous 2020 debut, it is an even more explicit example of the syncretic impulse that impelled these guys to form the band. Their basic notion was to explore the juncture between two streams of German underground sounds -- the Motorik 4/4 rhythms first posited by Can's Jaki Liebezeit and Kraftwerk's Klaus Dinger, and the sequencer-driven brain loops of early, experimental pioneers of the NDW, such as der Plan. The opening track, “Tokamak,” begins like the sequenced soundtrack to a brightly-colored animated nightmare before transmuting into a marimba fusillade that unspools like Steve Reich on steroids. The last track is “Transformator Matki Polki”, which sounds like a radical Viennese remix of random snippets from Wolfgang Dauner's Output. In between these poles are an array of wild and varied rides through cartoon landscapes, with side trips to the spy movie vibe of “Gegenwelt”, the thug/art rock hybrid of “Eiweißangriff” and beyond. Gegenwelt is also a showcase for Kubin's latest invented instrument, the Mechatronikon. Built for him by engineer Lars Vaupel, the Mechatronikon receives CV or MIDI signals and translates them into commands for electromagnetic mini motors. In Felix's words, this allows “sequencers to trigger kitchen gear or whatever we'd like to resonate. With this machine we can also create rhythms that a human drummer would hardly be able to reproduce in this precision.” The mechanical sound effect of this device can be heard, for example, in the piece "Trippeltanz". But the precision of the pure Motorik impulse is not something Zemler is afraid to ignore at times. His grounding in free jazz emerges regularly (if subtly), displaying lateral moves that add another layer of complexity to music that's often moving in several directions at once. Even when the surface of CEL's melodies sound simple, a closer listening often reveals a wealth of subterranean activity. Mixed and co- produced by Hamburg's post-punk luminary Mense Reents, the music on Gegenwelt is a fine example of CEL's ability to compose pieces with a multivalent architecture listeners can appreciate in a variety of ways. Their music is partially shaped by whatever preconceptions you bring to it. So think good thoughts about Gegenwelt and your rewards will be bountiful.
  • 01. Zum Wohl
    02. Hollywood
    03. The Shade
    04. Für die Katz
    05. Grosses Wasser (Edit)
    06. Oh Odessa
    07. 21 32 (Edit)
    08. Es war einmal
    09. Wehrmut
    10. Heiße Lippen
    11. In Ewigkeit (Edit)


    Kollektion 06:1971-1981

    [engl] John McEntire, founder and current member of TORTOISE and THE SEA & CAKE, compiled his favourite tracks by the legendary German ambient music and krautrock pioneers CLUSTER.
    EAN 4015698006674
  • 01. Meditation
    02. Krautrock



    [engl] There was a particular type of artist who could only have emerged in the legendary early 1970s. Few musicians fit the bill better than Konrad Schnitzler. Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were charac- teristic of the period. The magic words were “subculture”, “progres- sivity” and “avant- gardism”. West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak was the ultimate point of convergence for subculture in West Berlin, with Konrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met up to perform in public. The red album (“Rot”) was Schnitzler’s first solo effort. As a member of Tangerine Dream, however, he had participated in the band’s debut release “Electronic Meditation” some three years earlier (1970). He, Dieter Moebius and Hans-Joachim Roedelius had also already founded Kluster, whose first album “Klopfzeichen” attracted a wealth of attention. On “Rot”, meanwhile, Schnitzler uncompro- misingly pursued his very own vision of electronic music. As an acolyte of action and object artist Joseph Beuys, Schnitzler embraced the former’s “extended definition of art”, in which controlled randomness assumed an important role. Schnitzler actually extended the concept of “music”. Or to put it another way: he cared not one iota for existing rules of music, preferring to create his own or conceptualizing a certain degree of lawlessness. Improvisation grew in importance. The most exciting aspect of Schnitzler’s music is not the fact that he only used synthetic sound and noise; the apparently chaotic movements of his microscopic particles of sound draw the listener into a paradoxical, yet also crystalline and vibrant artistic world. It doesn’t get much more outlandish than this. Schnitzler’s debut surpassed virtually every other pioneering artist of the day in terms of radicalness. Not content merely with making psychedelic soundtracks, he turned these on their head with his defiant artistic will. The rigour of his approach has never been matched. Schnitzler’s inimitable cascades of sound and their transparency were, and remain, unique.
    EAN 4015698269789
  • 01. Mohn
    02. Keystone
    03. Blue Lotus
    04. Veins + Corals
    05. FFAALL
    06. Lo
    07. This Last Duress
    08. Coat



    [engl] Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=minimal label in Berlin reissued two Conrad Schnitzler albums at the outset of the 2010 decade, label honcho Jens Stru?ver was granted access to this audio library. Stru?ver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.
    EAN 4015698762372
  • 01. CAS-CON II 1
    02. CAS-CON II 2
    03. CAS-CON II 3
    04. CAS-CON II 4
    05. CAS-CON II 5
    06. CAS-CON II 6


    CAS-CON II - Konzert in der Erlöserkirche, Ost-Berlin, 3.9.1986

    [engl] The first contact between Conrad Schnitzler, who lived in West Berlin, and Jo?rg Thomasius, who was based in the east party of the city, came about in the late 1970s. In 1985, Schnitzler visited Thomasius in East Berlin for the first time. In the meantime, Thomasius had released cassettes in the GDR both as a soloist and with his group DFO (Das freie Orchester). The following year, the idea of a joint concert in East Berlin's Erlo?serkirche was born. In the GDR, it was not possible to hold events in public without a so-called state "classification". DFO did not have this permit at that time and so public performances were only possible in the context of private or church institutions. In 1982 Schnitzler had already met the New York musician Ken Gen Montgomery, who then regularly performed Schnitzlers' compositions live at various venues worldwide. And so Schnitzler also produced 4 cassettes especially for his concert in East Berlin, which were sent by courier from West to East Berlin. On the evening of 3.9.1986, the privately announced and illegal concert took place in the Erlo?serkirche in East Berlin/GDR. Montgomery mixed Schnitzler's music live from the tapes. Jo?rg Thomasius recorded the performance and released the recording in 1987 on his own underground cassette label Kro?tenkassetten. The elaborately restored original recording is now being released for the first time on LP and CD under the title "CAS-CON II". In addition to photos and contemporary documents, it also includes Jo?rg Thomasius' and Ken Gen Montgomery's written memories of this very special evening.
  • 01. Willkommen im Tal der Stutzer
    02. Die frommen Wanderer
    03. Die Nachricht schneller als der Wind
    04. Die Ko?nigin weint
    05. Ko?nig Friedrich II.
    06. Im Hu?hnerstall
    07. Zauberer und die Hex
    08. Bevor und nach dem Sturm
    09. Die Reise ins Innere
    10. Wald Melodei
    11. Lichtermond
    12. In der Schmiede
    13. Der fro?hliche Gaukler
    14. Kinder des Mu?llers der am Waldrand wohnt 15. U?ber Liebschaften


    Im Tal der Stutzer

    [engl] Taking inspiration from deep in the mediaeval mists of times long past, CV Vision comes riding over the hills like a knight to the rescue, and his new album Im Tal Der Stutzer is packed full of galloping drums, feudal prog riffs and poetic lyrics harking back to a golden age. You might’ve caught CV Vision in Berlin, either on stage or behind the mixer at some of his favourite clubs like Arkaoda, Heiners or O Tannenbaum. He could be accompanied by synths, or drum kit, or even full band – channelling his love of Bo Hansson and Claude Larson, or Soft Machine and Picchio dal Pozzo. Always heavy on the backbeat, the songs awash with heady synths and expansive psych inversions. For this record, CV Vision recruited two wayfaring collaborators in the form of songwriter and musician Martha Rose, and drummer Uno Bruniusson. They started the project at the dawn of the Covid outbreak, and it quickly became a coping mechanism against the lockdown. During those months of uncertainty, the collaboration blossomed into a sanctuary of psychedelic prog, acid folk and warped feudal weirdness, a refuge built on layered synth lines and reel-to-reel delays. Im Tal Der Stutzer invites you into its kaleidoscopic reality from the get-go – from the pulsating swing of Die Frommen Wanderer and frenetic synth arpeggios of Die Nachricht Schneller als der Wind, to the misty-eyed folk of Lichtermond. The whole record is punctuated with field recordings of ironmongers and cowherds and campfires, adding to the theatre. It’s a testament to the wide-ranging world that CV Vision has created, that he can at once invoke the Hildebrandslied while sounding like a library record that DJ Shadow might’ve sampled. In CV Visionverse, it all makes perfect sense.
    EAN 4015698061284
  • 01. Aus der Körperzone raus
    02. Zu viel Zeit, zu wenig Möglichkeiten
    03. Tinnitus isst Außenwelt
    04. Spaziergang im Leguangarten
    05. Wolf im Schlafsack
    06. Knast im Bauch, Echo in der Birne
    07. Wasser weck & Gin im Spiel. Ballet in 2 Akten


    Geltungsbereich Universum

    [engl] All the herbs have been smoked. Datashock deliver a new album: “Geltungsbereich Universum”. Their second for Bureau B and the eighth in a career as an internationally active collective of musicians which has spanned two decades (so far). Space is the place, as the moonstruck sparrows sing from the rooftops, or is the Earth the most beautiful place in the universe? Some say yes, others no. Datashock say nothing at all. Twenty years and counting, and yet here they are, as shoulder-shruggingly nonchalant as ever, in the environs of pop culture, where (seeing) the wood for the trees means the world. What’s going down, what’s not? What the heck! Is this still krautrock, is it space rock or experimental music? What’s the difference? Does it even matter? What’s important is that something is happening. This much we know. And now something else has happened. A new Datashock release: Geltungsbereich Universum. Of course, it couldn’t be any other way. Why set themselves limits? That has never been a concern for them. Even if, in all likelihood, they don’t make it into space, at least not this year, they have been most places and always stick to their own thing. Which is what, exactly? That’s for others to decide. The critique? This is your captain speaking, … your captain is dead. Use your ears. Listen closely and take your time to discover the musical spheres – the infinite worlds – of Datashock. For card-carrying space travellers only!
  • 01. Die Wüste
    02. Sechs fingen an (Titelsong der Früchte der Bestimmung)
    03. Aufbruch (Der Weltkenner durchschneidet den Zaun)
    04. Am Grab des Sohnes
    05. Im unterirdischen Wassersaal
    06. Denn alles war nur ein Trick! (Die Früchte der Bestimmung)
    07. Zur alten Dschunke (Thema der großen Stadt)
    08. Das Denkmal des Scheiterns (Eröffnungsfeier)
    09. Es ist schön, schön zu sein (Der schöne Mann)
    10. Donnerwetter! (Der starke Mann)
    11. Oh, oh, oh! (Der kluge Mann)
    12. Der Kommissar (Ist schon da)
    13. Ich bin es! (Der Weltkenner)
    14. Junger Mann (Die Teenager)
    15. Früchte-Radio Special
    16. Des Kerkers Loch (Die Früchte)
    17. Die unterirdische Fabrik
    18. Oder nicht? (Die Tötungsmaschine)
    19. Der Kommissar (Ermittelt weiter)
    20. Chor der Gefangenen
    21. Der Assistenten-Song
    22. Chor der Ausgebrochenen
    23. Schauet her (Die Früchte)
    24. Schönheit der Macht (Monolog der Herrschers)
    25. Zerstörung der grossen Stadt
    26. Das Zimmer der Tochter
    27. Showdown
    28. So wurden wir zu ihm gemein (Sohn und Tochter)
    29. Das Ende
    30. Der Todesmonolog (Gerät dem ausgespaceten Weltkenner doch noch versöhnlich)


    Die letzte Rache

    [engl] Der Plan (Moritz R®, Frank Fenstermacher, Pyrolator) were instrumental in ushering in the German New Wave (NDW) and are considered free spirits of synthesizer pop: electronic music created with minimal means, sometimes experimental, playful or even bordering on dilettantism, but always with a sense of humour. "Die letzte Rache" (The Last Revenge) was the soundtrack to the cult film of the same name by Rainer Kirberg – and at the same time a varied and thoroughly entertaining journey to the musical world of Der Plan.
    EAN 4047179741712
  • 01. Es werde Licht
    02. Die Peitsche des Lebens
    03. Anders Sein
    04. Wenn wir beide auseinandergehn
    05. Kathedrale der Konzentration
    06. Alles ist sinnlos
    07. Alter Mann
    08. Vive la vie
    09. Wir Babies
    10. Kleiner Junge
    11. El Cigarro
    12. Live At The Village Vanguard
    13. Das Böse kommt auf leisen Sohlen
    14. Erst ich, dann Du
    15. Spiel 77
    16. Das war so schön



    Die Peitsche des Lebens

    EAN 4015698967791
  • 01. 1 Moment = 2 Sec
    02. Ich hab den Jordan gesehen
    03. Get Out!
    04. Frisch verliebt
    05. Die Paranoia-kritische Methode
    06. Kennen Sie Köln?
    07. Komm zurück!
    08. Wenn Du nicht zuhause bist
    09. Kreuze niemals Deinen Weg!
    10. Die Geschichte des schwarzen Goldes 11. Bleib Gold!
    12. Press »G«-Punkt!
    13. 1 Mann, 1 Ball
    14. Bye Bye!


    Es ist eine fremde und seltsame Welt

    [engl] A cynic might propound the notion that to reissue an album entitled „Es ist eine fremde und seltsame Welt” at this particular moment would be to hit the nail on the head with painful exactitude. No cynics here, however, only music lovers.
    EAN 4015698042146
  • 01. Adrenalin Lässt Das Blut Kochen
    02. Geri Regi
    03. Persisches Cowboy-Golf
    04. Gefährliche Clowns
    05. Kleine Grabesstille
    06. Der Weltaufstandsplan
    07. Hans Und Gabi
    08. Commerce Extérieur Mondial Sentimentale
    09. Was Ich Von Mir Denke
    10. San José Car Muzak
    11. Erste Begegnung Mit Dem Tod
    12. Ich Bin Schizophren
    13. Nessie
    14. Gefährliche Clowns (Manisch-idiotisch)
    15. Die Welt Ist Schlecht
    16. Es Piept
    17. Fürstenwall
    18. Intermezzo
    19. Dark Porn
    20. Heinz, Komm Zum Feuer
    21. Money Honey


    Geri Reig

    [engl] Der Plan (Moritz R®, Frank Fenstermacher, Pyrolator) are seen as key pioneers of the German New Wave (Neue Deutsche Welle). They revolutionized synthesizer pop on their debut album "Geri Reig" (1980): produced with minimal means, at times experimental electronic music, playful bordering on dilettantish, and always with a sense of humour. Brothers in the spirit of The Residents, but more radical. File under: Synthiepop from outer space.
    EAN 4047179633314
  • 01. Copy Copy Machine
    02. Cyberspace
    03. Uin Uin Mun Kona Bap Uin
    04. LP 3
    05. Repair Yourself
    06. Save Your Software
    07. Die Geschichte der Fanuks
    08. I Can Love
    09. I Want To Sing Like Ella
    10. Fanuk Rock


    Save Your Software

    [engl] Shrouded in myth, ‘Save Your Software’ is the long-lost album by Der Plan. Back in the mid-1980s, Moritz Reichelt, Kurt Dahlke (Pyrolator) and Frank Fenstermacher initiated the Fanuks project with the aim of making themselves immortal as Mensch-Maschinen or Man-Machines. “Fanuks” would produce music for all eternity, embarking on a never-ending world tour. Eternity would ultimately prove to be out of their reach due to various technical hurdles, but it is fair to say that Der Plan were always way ahead of their time. By the end of the decade, the Fanuks, or their respective human alter egos, had crafted six pieces. These were only rediscovered in 2020 during a thorough inspection of the Ata Tak/ Der Plan archives. Reichelt, Dahlke and Fenstermacher augmented their six visionary masterpieces with three tracks based on compositions from the year 1989. Now it works at least a little with eternity, even if ‘only’ in the form of the legendary productions that have finally been made available to the public.
    EAN 4015698664508
  • 01. Wunderbar
    02. Liebe Lilli
    03. Der Sternmann
    04. Mann im Kühlschrank
    05. Telefontanz
    06. Alchemie am Wochenende
    07. Mitkommen, Wegsein
    08. Falsche Berge auf dem Weg
    09. Kaffe, Kuchen und Kometen
    10. Aller Tage Abend
    11. Hinter 7 Monden
    12. Sonntagskinder
    13. Mondfolklore
    14. Glücklich. Traurig. Seltsam.
    15. Seashells and Flowers
    16. Fliegeleicht
    17. Judith
    18. Hallo Hallo Hallo!


    Die Rückkehr der echten Menschheit (1981 - 1990)

    [engl] This first Bureau B retrospective devoted to Die Welttraumforscher covers the Swiss project's early creative period from 1981 to 1990. The eccentric, heartwarming pop songs now sound like documents from a parallel world, interwoven with idiosyncratic fantasy, surreal stories and dreamlike apparitions. All tracks have been remastered and the artwork has been lovingly crafted with the original Forscher drawings.
    EAN 4015698299632
  • 01. Liederbuch (Einklang)
    02. Traum der Welt
    03. Sie kam zu Dir und malte blaue Blumen
    04. Glücklich. Traurig. Seltsam
    05. Goldene Barken
    06. This Is Neil Armstrong
    07. Kip Eulenmeister (Version)
    08. Sweet Bird
    09. Leguan Rätselmann
    10. Nordhaus
    11. Mitternacht
    12. Das bist Du
    13. Silkenwind
    14. Quittenmarmelade
    15. Fange die Welle
    16. Gruss zum Mond
    17. Liederbuch (Ausklang)



    [engl] When the Welttraumforscher (world dream explorer) started their journey on July 14, 1981, it was not foreseeable that it would last so long. For over 40 years now, Christian Pfluger from Zurich has been working with drawings, texts and songs on the idiosyncratic and fascinating universe of the imaginary trio. This has resulted in numerous cassettes, LP and CD releases. Most recently, a two-part retrospective was released in the spring of 2021 on Hamburg's Bureau B, giving an insight into the wonderfully rapturous dream world of the project, which despite the continuous work remains something of an insider tip to this day. With their new collection "Liederbuch", which will be released in August, the Welttraumforscher are going on tour for the first time in many years. When the Welttraumforscher open their songbook, they are met, as in a pop-up book, by the fictional friends they have invented and sung to on their journey through 40 years: the captain to the soul Kip Eulenmeister (the owl master) and the crop circle researcher (iguana) Leguan Rätselmann, the insect twins Brtz and Brxl, the space travelers Lia and Mira from the Nordkristall (northern crystal), Ohm Olunde from the silent forests and the incredible dark pilots. In their distant worldroom, the two insect beings Brtz and Brxl open up the Welttraumforscher songbook. They find the songs, from A to O, sung by the Forscher on their albums dating back to the faraway year of 1981 – on cassettes, vinyls, CDs and through digital communications kaleidoscopes. It’s Sunday and, with plenty of downtime on their hands, Brtz and Brxl listen to all the songs; the one about the yellow wight in the moors, the one about Kip Eulenmeister, the Captain of Souls, one about Leguan Rätselmann, pursuing every riddle, and one about the dark things which sometimes happen around midnight. We want one too, say say Brtz and Brxl, a songbook of our own, all the songs we like to listen to the most, collected in one album. By now it is late on Sunday evening and the moon shines above them like a colourful paper lantern. The two insect beings ponder: what shall we call our songbook? The very name we gave it, songbook. So here it is and this is what it sounds like – Brtz and Brxl wish you happy listening. As do the Welttraumforscher, whose quiet body of work turned out so well. So without further ado: welcome! Welcome to the Welttraumforscher songbook!
    EAN 4015698142549
  • 01. Wassergarten. Vergangenheit und Zukunft
    02. Das Land Loon
    03. Zuckerbäckerbrigade
    04. Take Me Away
    05. Kluger König Kindermond
    06. Werde Erde
    07. Lass uns überlegen
    08. Dieses Haus ist nur ein Traum
    09. Schnee im zarten Jahr
    10. Husch-husch
    11. Ufo
    12. Das blaue Zimmer
    13. Silberblau
    14. 21. Januar 2021


    Wir arbeiten für die nächste Welt (1991 - 2012)

    [engl] The second collection sees Bureau B zoom in on the years 1992 to 2012 in the Welttraumforscher universe. A more pensive atmosphere of melancholy pervades the tracks documented herein, as if the more spherical musical journeys and expeditions undertaken by creator and sole member Christian Pfluger lead to increasingly enchanted worlds.
    EAN 4015698546071
  • 01. 35:00
    02. 63:00
    03. 40:00
    04. 100:00
    05. 52:00
    06. 235:00
    07. 135:00
    08. 150:00


    MEZ 31,00 (Experimenteller Elektronik-Underground DDR 1989)

    [engl] Tension. Performance. Resistance - our Zonic Spezial documenting underground cassette culture in the latter years of the GDR caused quite a stir when it first appeared in 2006. A collaborative effort with the legendary ZickZack label and Verbrecher publishing house, “Spannung. Leistung. Widerstand. Magnetbanduntergrund DDR 1979-1990” (to give the work its full title) caused many lis- teners, especially those in the West, to prick up their ears in astonishment when they played the book’s accompanying CDs. This odd potpourri of swirling post-punk manifestations was compiled with solid interpretive authority by Bert Papenfuß, Bo Kondren, Bernd Jestram, and Ronald Lippok. They did, however, erroneously attribute one piece to Jörg Thomasius and Dieter Zobel’s Os- tkraut band Das Freie Orchester instead of the “Musik aus dem Regen” tape on their own Kröten Kassetten imprint. Whilst the Zonic Spezial itself has become an eminently collectible rarity, Bureau B succeeded in making at least parts of the musi- cal spectrum available to a wider international audience with their 2014 release “Magnetband”. Serendipitously coinciding with the publication of a second book, “Magnetizdat DDR” (no listening material this time around), Bureau B now revisit the experimental electronic underground of the German Democratic Republic with two releases: “Acht Gesänge der schwarzen Hunde”, a collection of Jörg Thomasius productions spanning the years 1980 to 1990, and “MEZ 31,00” by Dieter Zobel aka Didier Leboz, recorded in 1988 and released as a solo Kröten cassette in the watershed year of 1989. Das Freie Orchester emerged from the off-centre environs of Prenzlauer Berg in 1985 as a wild and outstanding descendent of the so-called Komplexbrigade. Ever open to progressive tendencies, with a strong predilection for all things Kraut (including Can, of course) and emboldened by the GDR free jazz which was sweeping the international scene as well as the Treptow Cultural Centre, upstairs and downstairs, the orchestra wholly identified with the concept of free expression: everything was improvised. As seriously as they took their sonic explorations, their love of unserious paronomasia was just as pronounced. Dieter Zobel, first and foremost DFO guitarist, dreamed up the Leboz brand name for the instruments he had built himself, then took DFO-speak a step further by christening his devices sadophone and masophone or Metallic Noise Masturbator, names which only served as rough approxima- tions of the bizarre sounds they generated. “MEZ 31,00” was actually a rather more conventional production, based on a Yamaha CX5M purchased with Western currency left to him by his grandmother. The Yamaha would also spawn a further and possibly superior Zobel Kröten tape by the name of “Moschus”. Zobel, it should be said, was not so thrilled with the instrument, bemoaning the fact that “it was pretty hopeless, you couldn’t use it with a mouse and the MS DOS operating system was a nightmare. Today it would just get laughed at.” The only plus point he could find was its sound: “actually quite decent, eight voices with eight different sounds and multi timbral at that. An abso - lute first back then!” The sequencer in particular was “hellish, you could only enter musical notation, there was no undo function and you couldn’t even record keyboards manually! There was no way you could listen to individual parts, you had to play back the whole thing to listen out for wrong notes and then write everything down on paper.. ouch! When you played faster sequences with lots of notes, it starting stuttering. But what the heck ...” Clearly not everything was perfect in the (Far-Eastern) electric West! Zobel, fascinated then and now by minimal music in the style of Steve Reich and Terry Riley, nevertheless got to grips with the “in- fernal machine” and emulated the compositional techniques of the aforementioned masters he so revered. He layered numerous loops of the same sequence but of different length to create concentrated polyrhythmic forms. Those in the know were reminded of contemporary Japanese ambient works, including Hiroshi Yoshimura’s early albums or Yasuaki Shimizu’s "Music For Commercials". In spite of his toils with tricky equipment, Zobel took his initial steps in algorhythmic composition, largely using his own devices. For around 20 years he has been crafting sequencers, samplers, synths or effects with Native Instruments Reaktor. From hardware to software: it’s a tough habit to break. Freestyle remains the modus operandi for Das Freie Orchester, who recently came together for a final album, but Zobel has also discovered his love for dub.
    EAN 4015698432879
  • 01. Ballgeflüster
    02. Leierkasten
    03. Für Dich
    04. E-605
    05. Alleewalzer
    06. Für Euch


    Für Mich

    EAN 4047179766319
  • 01. Rive Opposte
    02. Sentiero
    03. Visione Pop
    04. Soffiare Insieme
    05. Magnetismo
    06. Trasmutazione
    07. Profondità



    [engl] On their self-titled debut album Etienne Jaumet and Fabrizio Rat, both trained pianists, re-invent their favourite instrument to make us hear it in a totally new way. While the former creates unusual sounds thanks to the rhythmic machines that accompany his piano, the latter uses this classical and romantic instrument par excellence to explore the techno sphere. "The basic idea of our duo is to confront the harmonic richness of the piano and the synthesizer through rhythm. To explore our interactions through live music. To develop new atmospheres thanks to the evocative power of unusual sounds. Somewhere between ambient and sound experimentation...'
    EAN 4015698655018
  • 01. Naja
    02. Flaflas
    03. Es Ist Wieder Da
    04. Mechanika
    05. Weird Sounds Sound Bizarre
    06. Karotten
    07. RéMaj7
    08. Fin De Face
    09. Vorsatz
    10. Acouphènes
    11. Interlude 18. Juni
    12. Dadalibal
    13. Bonne Soupe Au Fromage
    14. Rückwärts durch die Drehtür


    Momentaufnahme I

    [engl] Originally part of 2021’s Faust Box Set release commemorating the bands 50th anniversary Momentaufnahme I and II are now set for their own stand alone release by popular demand. This is for all those that missed out on the limited edition box set release. They collect together music recorded at the band's studio - a converted schoolhouse in rural Wümme between 1971 and 1974 in a similar vein to the way in which 'The Faust Tapes’ (released in 1973) was assembled. These two albums range from minimal electronic pulses, ambient dreamscapes, vocal collages to heavy drone, ritualistic percussion and psychedelic grooves. Highlights include the hypnotic space jams of ‘Vorsatz’ and ‘Rückwärts Durch Die Drehtür’, the delicate acoustics of ‘I Am... An Artist' and the radiophonic workship-esq 'Weird Sounds Sound Bizarre‘. Let’s let founding member Jean-Hervé Peron explain more.... Faust? were originally a group of musicians, each following our own inspirations, desires, illusions: many facets, many directions, different styles, different languages. We often had to struggle with the clash of our egos but there was also a natural tacit understanding of each other's role. We had the privilege to work with a great producer and an extraordinary recording engineer. From spring 1971 to spring 1974 we existed as a group. Then Faust became a Gestalt with various incarnations. Momentaufnahme? Don't panic here, it is only German for 'Snapshot’. Momentaufnahme I and II present a collection of unreleased snapshots which offer a wonderful insight into the world of Faust. Some tracks are extremely raw and experimental, others are fully rounded productions. So far we have MA I and MA II but we plan to do more of these when we come up with more material or new ideas.
    EAN 4015698985030
  • 01. Danach
    02. Gegensprechanlage
    03. Lampe an, Tür zu, Leute rein!
    04. Purzelbaum mit Anschubsen
    05. Tête-à-Tête im Schredder
    06. Dampf
    07. Testbildhauer
    08. I am... an Artist
    09. Wir wollen mehr Volumen kriegen
    10. Arrampicarsi Sul Vesuvio
    11. ...und alles durcheinander
    12. The Fear Of Missing Out
    13. Ma Trompette
    14. As-tu Vu Mon Ombre?


    Momentaufnahme II

    [engl] Originally part of 2021’s Faust Box Set release commemorating the bands 50th anniversary Momentaufnahme I and II are now set for their own stand alone release by popular demand. This is for all those that missed out on the limited edition box set release. They collect together music recorded at the band's studio - a converted schoolhouse in rural Wümme between 1971 and 1974 in a similar vein to the way in which 'The Faust Tapes’ (released in 1973) was assembled. These two albums range from minimal electronic pulses, ambient dreamscapes, vocal collages to heavy drone, ritualistic percussion and psychedelic grooves. Highlights include the hypnotic space jams of ‘Vorsatz’ and ‘Rückwärts Durch Die Drehtür’, the delicate acoustics of ‘I Am... An Artist' and the radiophonic workship-esq 'Weird Sounds Sound Bizarre‘. Let’s let founding member Jean-Hervé Peron explain more.... Faust? were originally a group of musicians, each following our own inspirations, desires, illusions: many facets, many directions, different styles, different languages. We often had to struggle with the clash of our egos but there was also a natural tacit understanding of each other's role. We had the privilege to work with a great producer and an extraordinary recording engineer. From spring 1971 to spring 1974 we existed as a group. Then Faust became a Gestalt with various incarnations. Momentaufnahme? Don't panic here, it is only German for 'Snapshot’. Momentaufnahme I and II present a collection of unreleased snapshots which offer a wonderful insight into the world of Faust. Some tracks are extremely raw and experimental, others are fully rounded productions. So far we have MA I and MA II but we plan to do more of these when we come up with more material or new ideas.
    EAN 4015698873092
  • 01. Tell the Bitch to go Home
    02. Herbststimmung
    03. Something Dirty
    04. Thoughts of the Dead
    05. Lost the Signal
    06. Je Bouffe
    07. Whet
    08. Invisible Mending
    09. Dampfauslass 1
    10. Dampfauslass 2
    11. Pythagoras
    12. Save the Last One
    13. La Sole Dorée


    Something Dirty

    [engl] The living Krautrock legend faUSt, around for over 40 years now, have recorded a new album! Jean-Hervé Peron, Zappi W. Diermaier (both founding members), James Johnston (Gallon Drunk, Nick Cave & the Bad Seeds), and Geraldine Swayne (...Bender) have come up with another archetypical faUSt album: inspiring, innovative, unpredictable, crossing boundaries, anarchic – faUStian! "something dirty" is a definitive milestone in the long history of this world-famous musical institution from Hamburg.
    EAN 4047179429610
  • 01. Several Hands On Our Piano
    02. Don’t
    03. Flashback Caruso
    04. Voices And Trumpet And All
    05. J’ai Mal Aux Dents
    06. Beim nächsten Ton ist es...
    07. Two Drums, Bass, Organ
    08. Dr. Schwitters Intro
    09. Several Hands On Our Piano (Continued)
    10. Beam Me Up, Scotty
    11. Elerimomuvid
    12. Dr. Schwitters (Continued)
    13. Have A Good Time, Everybody
    14. Above And Under Our Piano
    15. Hermanns Lament
    16. Donnerwetter
    17. Was ist hier los?
    18. Rudolf der Pianist
    19. Ricochets
    20. I’ve Heard That One Before
    21. Watch Your Step
    22. Under Our Piano Again
    23. Fluid Chorus
    24. Stretch Out Time
    25. Der Baum
    26. Chère Chambre


    The Faust Tapes

    [engl] There’s something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust’s second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band’s unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. Shoppers flocked in their thousands to grab a copy, raced home and then spent the next forty five minutes checking their tracking, banging the speakers and blowing the needle, all to no avail. Do not adjust your set - This is Faust. What was lurking within the grooves was a condensed collage of outtakes, oddities, sketches and samples previously known to the band’s nearest and dearest as ‘The Faust Party Tapes’ - and how you wish you’d been to those parties. Cacophonous keys and roaring drones splinter into a deranged hybrid of tumbling toms and yelping vocals; committed experimentalism which in no way prepares you for the beautiful ballad which follows. Armed with acoustic guitar, playful piano and panning vocals, Faust fashion a pastoral idyll imbued with the most profound yearning. “Flashback Caruso” brims with Byrds-ian jangle and Syd’s psychedelia, its non-sensical English lending the piece a Confucian lyricism perfect for expanded minds. And just as the soaring, searing solo suggests we’re on route to eternity, the group snap, crackle and pop into another rabid découpage. Sliced and spliced between TV snippets, dissonant trumpet and the sound of someone pissing, the utterly freaky fuzz-rock of “J’ai Mal Aux Dents” sounds positively radio-friendly, far less far out than if it were encountered alone. Compared to the non-musical madness beside it, this thrash-jazz trance dance makes perfect sense, as does the corrosive breakbeat of “Two Drums, Bass, Organ”, a mutant funk workout which rivals Can in an all-German dance off. The progressive and symphonic “Dr. Schwitters”, dissected by fragments of dissonant process music, haunted vocal takes and the proto-industrial grind of “Elerimomuvid”, charts a course for the dark side of the moon more suited to the serious cosmonauts of the world. Then the record freefalls into disorienting drum workouts, mixing desk experiments and a wicked premonition of no-wave jazz (“Hermann’s Lament”) before taking slight respite in the beauty of “Rudolf Der Pianist” and “I’ve Heard That One Before”. The particles of prepared piano, power tools and tape echo continue to cascade through the soundspace, gradually building into the final trilogy of “Stretch Out Time”, “Der Baum” and “Chère Chambre”, which return to conventional song structure, albeit in the group’s typically twisted style. Once again though, in comparison to the wonderfully weird pieces which precede them, these three tracks are entirely accessible, and in this lies the brilliance of the LP. It doesn’t just succeed as a conceptual prank, or musical prediction, but by an expert balancing act between the profane and profound, presents its most accomplished moments in their most intelligible form. For the open minds and eager ears, Faust’s cryptic charm had been laid bare, and the heads had a new favourite band.
    EAN 4015698627695
  • 01. Behind The Heroes
    02. The Song Pt. 1
    03. Liquid Space
    04. The Song Pt. 2
    05. Masha-Marie
    06. Metamorphoses Pt. 1
    07. Metamorphoses Pt. 2
    08. Drops
    09. Dream
    10. Song To The Siren



    [engl] Metamorphoses is the debut album by electronic duo God is God for Hamburg-based imprint Bu- reau B. The duo consists of Turkish musician, producer and Kinship label founder Etkin Çekin and Belarussian multi-instrumentalist, composer singer and Not Not Fun alumni Galina Ozeran who star- ted making music after a chance meeting in Berlin in 2015. Metamorphoses is the product of their second ever improvisational encounter: an undulating, avant-pop journey of low-BPM twists and turns guided by Ozeran’s synthesizers, Russian and English vocals and Çekin’s ethereal production and guitar sensibility. Central to the album’s musical narrative are both contemporary dancefloor- adjacent electronics and Eastern European and Turkish psychedelic electronic traditions – all filte- red through the prism of Çekin and Ozeran’s respective musical histories.
    EAN 4015698111446