{"title":"Bureau B","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA Hamburg based record label and publisher releasing past and future classics unearthed from genres including (but not limited to) Electronica, Avant-garde and Kraut(rock) – a colorful spectrum of diverse, yet contiguous musical genres. Applying the expertise deployed in trawling the archives, Bureau B has gone on to champion new and contemporary acts with similar musical sensibilities to their pioneering antecedents since its inception in 2005.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"blickwinkel-curated-by-zappi-w-diermaier","title":"Blickwinkel - Curated by Zappi W Diermaier","description":"\u003cp\u003eAfter dipping into the archive to deliver a series of essential reissues, Bureau B continues to encourage the chaotic brilliance of \u003cstrong\u003eFaust\u003c\/strong\u003e with an LP of brand new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther Wüsthoff.\u003c\/p\u003e\n\n\u003cp\u003eOver the years \u003cstrong\u003eFaust\u003c\/strong\u003e has become many things, each as separate as the fingers, but as together as the hand which makes up their eponymous fist. From 1971 to 1974 the Hamburg band blazed a bold sonic trail, helping to create the distinct and delirious strand of German music we've come to know as Krautrock. Uncompromising, innovative, and experimental, their releases in that period, and the stories accompanying their creation, are nothing short of legendary.\u003c\/p\u003e\n\n\u003cp\u003eThe fact that after a hiatus, the band returned and remained active in a variety of separate and simultaneous incarnations is entirely fitting for these musical revolutionaries. On \u003cem\u003eBlickwinkel\u003c\/em\u003e, Diermaier's incarnation embraces synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience, and psychedelic motorik.\u003c\/p\u003e\n\n\u003cp\u003eSonically and politically, \u003cem\u003eBlickwinkel\u003c\/em\u003e is a profoundly Faustian venture, a communal project based on democratic ideals which eschews external influences to create something entirely on its own. The result is a shapeshifter, at times commune-friendly psychedelia, then grinding industrial, eerie ambient, or driving motorik, but always refusing easy categorization.\u003c\/p\u003e\n\n\u003cp\u003eThe stylistic definitions are constantly disrupted by unexpected guests - baroque strings, impish horns, found sound breakdowns, or else mind-melting phasing and flanging - each offering a new combination on this album.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Purple LP","offer_id":50380189729099,"sku":"2210656","price":31.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50380189335883,"sku":"2210654","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50380189598027,"sku":"2210655","price":30.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/image007_26e0ae91_thumbnail_4096.jpg?v=1726210491"},{"product_id":"grosses-wasser-hi2jmf","title":"Grosses Wasser","description":"\u003cp\u003eThe best of the proper Cluster LPs recorded between their various Eno collaborations of the late '70s and early '80s, \u003ci\u003eGrosses Wasser\u003c\/i\u003e comprises six tracks of slowly building electronics. While the dark-sounding tracks \"Avanti\" and \"Prothese\" sound like a fusion of Tangerine Dream and disco, others including \"Isodea\" and \"Manchmal\" recall the early days of Cluster 71.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black LPx2","offer_id":50381781205323,"sku":"2222042","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50381780779339,"sku":"2222040","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/product_id._e2f0ca01_thumbnail_4096.jpg?v=1726236786"},{"product_id":"curiosum","title":"Curiosum","description":"\u003cp\u003eoriginally recorded in 1980, cluster's 6th album re-issued. their landmark early electronic work was hugely influential on the english post-punk synthesizer bands of the late '70s. 'curiosum', released in 1981, just as some of these bands were moving from arty cult status to mainstream stardom, sounds like moebius and roedelius had started taking cues from the groups they'd initially inspired.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":50381788283211,"sku":"318427","price":29.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50381788873035,"sku":"2222039","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Curiosum_801cc788_thumbnail_4096.jpg?v=1726290696"},{"product_id":"area-silenzio-2","title":"Area Silenzio","description":"\u003cp\u003e\u003ci\u003eArea Silenzio\u003c\/i\u003e is eat-girls' debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Their live performances have that same ghostly, ephemeral quality. There is something other-worldy about the three of them, a suggestion of telepathy, their three voices blending together or going their separate ways like a flock of starlings. They secured opening slots with artists as different as Thalia Zedek, Exek and The Young Gods, just to name a few. It is the elusive essence of their music that allows them to feel at ease pretty much anywhere they find themselves: part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies. \u003c\/p\u003e\u003cp\u003eThe album was self-recorded, a necessary measure to protect the delicate nature of the inner landscapes painted by the band. In this case 'delicate' does not mean 'soft' by any means: the industrial disco inferno of 'A Kin', the ritualistic kraut stampede of 'Para Los Pies Cansados' and the bubbly post-funk rhythms of 'Trauschaft' will leave you gasping for air once you come out on the other side. 'On a Crooked Swing', the opener, is all arpeggiated bass and stumbling kicks. 'Unison' will dip you into a hallucinatory river where nothing is what it seems to be and rescue you at the very last second. 'Canine', the first single off the record, will gently but firmly reach for your jugular with its vulpine Farfisa and deceptively nonchalant drum beat. The vocal polyphonies on '3 Omens' sound like a field recording of traditional music from a tiny country that has yet to be discovered. eat-girls exist on a slightly different plane from ours, where everything is teeming with secrets and hidden life. \u003ci\u003eArea Silenzio\u003c\/i\u003e is a precious polaroid shot from that world, or, as Tom Verlaine would have it, 'a souvenir from a dream'.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black LP","offer_id":50382034305355,"sku":"2222084","price":30.99,"currency_code":"GBP","in_stock":true},{"title":"Clear LP","offer_id":50382034665803,"sku":"2222085","price":31.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50382034141515,"sku":"2222069","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_9e395a1b_thumbnail_4096.jpg?v=1726240447"},{"product_id":"samtvogel-2","title":"Samtvogel","description":"\u003cp\u003eIt’s hardly a secret that there was a lot of movement in German pop music during the late 60s and early 70s of the last century, and that many new things emerged then. Countless books have already been published on the subject of \u003cem\u003eKrautrock\u003c\/em\u003e, and many LPs from this period have been re-released.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eGünter Schickert\u003c\/strong\u003e only released two LPs in the 70s: \u003cem\u003eÜberfällig\u003c\/em\u003e (Sky Records, 1979 \/ Bureau B, 2012) and \u003cem\u003eSamtvogel\u003c\/em\u003e (Brain, 1976). Now, exactly 50 years after its original release, \u003cem\u003eSamtvogel\u003c\/em\u003e has returned.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eGünter Schickert\u003c\/strong\u003e used only guitars, echo devices and a modest recording technique for \u003cem\u003eSamtvogel\u003c\/em\u003e. The album is a genuine DIY production – radical in every respect and not at all in keeping with the zeitgeist of the time.\u003c\/p\u003e\n\n\u003cp\u003eIt was perhaps this radicalism that made it difficult to find a suitable record label to release the album. In any case, \u003cstrong\u003eSchickert\u003c\/strong\u003e initially self-released \u003cem\u003eSamtvogel\u003c\/em\u003e in 1974 in an edition of 500 copies. It wasn't until two years later that the album was released in a much larger edition on the Brain label.\u003c\/p\u003e\n\n\u003cp\u003eI am sure that \u003cstrong\u003eSchickert\u003c\/strong\u003e was familiar with the minimal music of Steve Reich, Terry Riley and Philip Glass. I don't know whether he had also heard \u003cem\u003eDie grüne Reise\u003c\/em\u003e (1971) by Achim Reichel. \u003cem\u003eInventions for Electric Guitar\u003c\/em\u003e by Manuel Göttsching would not appear until 1976.\u003c\/p\u003e\n\n\u003cp\u003eWith his version of minimal music, \u003cstrong\u003eSchickert\u003c\/strong\u003e completely dispenses with electronic sound generators; neither synthesizers, sequencers nor rhythm machines can be heard on \u003cem\u003eSamtvogel\u003c\/em\u003e. Instead, he enters into a dialogue with the echo device and uses it and his electric guitar to create seemingly simple, almost rudimentary repetitive patterns that only reveal their minimalist nuances on closer listening.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eSamtvogel\u003c\/strong\u003e is a particularly important album because it makes it clear what was musically possible in the 70s. There is no doubt that the album is extreme, even though it is of high quality musically and technically. Yet it doesn't conform to any of the trends of the time; and that is probably also the reason why it was never commercially successful.\u003c\/p\u003e\n\n\u003cp\u003eWith his two albums \u003cem\u003eSamtvogel\u003c\/em\u003e and \u003cem\u003eÜberfällig\u003c\/em\u003e, which were unjustly undervalued at the time, \u003cstrong\u003eGünter Schickert\u003c\/strong\u003e was a remarkable exception in the broad scope of experimental German pop music during the 70s. \"\u003cem\u003eSamtvogel\u003c\/em\u003e\" was a venture that succeeded, but can perhaps only be truly appreciated today, 50 years after its first release. Asmus Tietchens, 2024\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Black LP","offer_id":50382100496715,"sku":"2222118","price":30.99,"currency_code":"GBP","in_stock":true},{"title":"Red LP","offer_id":50382101217611,"sku":"2222121","price":31.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50382100070731,"sku":"2222104","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_4a8fd096_thumbnail_4096.jpg?v=1726242056"},{"product_id":"ophio-2","title":"Ophio","description":"\u003cp\u003eFor eight years now, songwriter and producer \u003cstrong\u003eSebastian Lee Philipp\u003c\/strong\u003e has been steering his project \u003cem\u003eDie Wilde Jagd\u003c\/em\u003e through the field of tension between contemporary electronic music and avant-pop.\u003c\/p\u003e\n\n\u003cp\u003eBetween 2015 and 2020, three studio albums were produced as documents of Philipp's rigorous musical creativity. Most recently, \u003cem\u003eAtem\u003c\/em\u003e, a composition for Roadburn Festival, was released in 2022, documenting yet another, more experimental side of the project.\u003c\/p\u003e\n\n\u003cp\u003eOn the new, eagerly awaited fourth album, all these multi-faceted worlds are brought together in an impressive way. \u003cem\u003eOphio\u003c\/em\u003e, Ophio you say. Lies in the end of you. Still the best ahead of me? With these lines from the title track, \u003cstrong\u003eSebastian Lee Philipp\u003c\/strong\u003e poses the question that spans over the entire album like a parenthesis.\u003c\/p\u003e\n\n\u003cp\u003eThe work entitled \u003cem\u003eOphio\u003c\/em\u003e tells of constant transformation, the blurring of beginning, end, and the various dimensions in between. \"It's about the constant unfolding of the self, about the seductive forces of life, an ode to existence and the transformation to happiness,\" says \u003cstrong\u003ePhilipp\u003c\/strong\u003e himself about his conceptual direction of the album.\u003c\/p\u003e\n\n\u003cp\u003eThe meandering between leaving behind and starting anew is not only found in the lyrics, but also in the music itself. The production seems more consistent than ever before, stripping away all frills and trinkets, like a skin that has become too tight. The compositions form a concentrate in which every single sound finds its space.\u003c\/p\u003e\n\n\u003cp\u003eIn a certain sense, it's like listening to an introspection in which the bundled voices become a single, demanding murmur that is both drone and whisper in equal measure. \"I see you in blows of delight. Where have you been? Make my eyes to love the things that want to love\" (From 'In Wonnenhieben', English. In Blows of Delight).\u003c\/p\u003e\n\n\u003cp\u003eAs on the previous album \u003cem\u003eHaut\u003c\/em\u003e, the drums were played by long-time stage partner \u003cstrong\u003eRan Levari\u003c\/strong\u003e. The new album also features cellist and singer \u003cstrong\u003eLih Qun Wong\u003c\/strong\u003e (Lihla), who first joined \u003cem\u003eDie Wilde Jagd\u003c\/em\u003e for the live performance of \u003cem\u003eAtem\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThis collaboration sounds particularly impressive on \u003cem\u003eThe Hearth\u003c\/em\u003e, the band's first English-language song. A beguiling track as if of shiny, heavy tar, carried by \u003cstrong\u003ePhilipp\u003c\/strong\u003e's dense composition, \u003cstrong\u003eLevari\u003c\/strong\u003e's pulsating beats, and lyricist \u003cstrong\u003eWong\u003c\/strong\u003e's voice.\u003c\/p\u003e\n\n\u003cp\u003eOther production partners were \u003cstrong\u003ePhilipp Otterbach\u003c\/strong\u003e (Kelch) and \u003cstrong\u003eVactrol Park\u003c\/strong\u003e (In Wonnenhieben). \u003cstrong\u003eNina Siegler\u003c\/strong\u003e, who could already be heard as a duet partner in the song Himmelfahrten, also lends her voice again to the tracks \u003cem\u003eOuroboros\u003c\/em\u003e and \u003cem\u003eIn Wonnenhieben\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eWhen the journey ends after just under 50 minutes with the questions \"Will your songs blind me again? 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It thus gives us immeasurable pleasure to offer you a closer insight into the work of this incomparable project. All tracks have been remastered and the artwork has been lovingly crafted with the original Forscher drawings.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP","offer_id":50383365308747,"sku":"1114184","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a2b0b58d-b47d-499e-8d73-03150108e200_thumbnail_4096.jpg?v=1726268552"},{"product_id":"kollektion-05-compiled-by-thomas-fehlmann","title":"Kollektion 05 - Compiled By Thomas Fehlmann","description":"\u003cp\u003eThomas Fehlmann (founder member of Palais Schaumburg and member of The Orb) collects and blends a selection of 1980's solo work by Conrad Schnitzler (Tangerine Dream, Kluster).\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD.","offer_id":50383559557451,"sku":"392411","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8fb3f037-4d98-451f-a4b7-469e16319f26_thumbnail_4096.jpg?v=1726272652"},{"product_id":"sowiesoso","title":"Sowiesoso","description":"\u003cp\u003eOriginally released in 1976, Cluster's 4th album re-issued. the evocative toybox melodies (usually the Roedelius compositions) on 1974's \u003cem\u003eZuckerzeit\u003c\/em\u003e reached their peak with \u003cem\u003eSowiesoso\u003c\/em\u003e, courtesy of ambling pieces like 'Dem Wanderer,' the title track, and the vaguely oriental 'Halwa.' 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Now for the first time, the German iconoclasts' previously unreleased fifth album sees the light of day as \u003ci\u003ePunkt.\u003c\/i\u003e Not only does this title place a bold full stop after the final recording by the group's seminal line up of Péron, Irmler, Sosna, Wüsthoff and Diermaier, but it also references the unflinching anarchism of German rock's ultimate outsiders. Punkt is Faust at their most unhindered, untethered and unstoppable. \u003c\/p\u003e\u003cp\u003eReturning to Germany after a loss-making U.K. tour and after their manager Uwe Nettelbeck had split with them,the group dusted themselves down and planned their next project, what would have been their second for Richard Branson's Virgin. Joined as always by their engineering genius Kurt Graupner, the band took residence in the Arabella High Rise Building, the luxury hotel which housed Giorgio Moroder's Musicland Studio in its basement. At the time, the Italian's space disco odyssey was yet to blast off, and he gave the group the studio downtime around his sessions with Donna Summer. \u003c\/p\u003e\u003cp\u003eOff the leash and on the lash (running up a record breaking room service bill), Faust spent their nights below ground, creating the sublime cacophony which courses through these seven tracks. Driven by Diermaier's primitive repetition and Péron's rabid low end growl, \"Morning Land\" stomps its way through almost ten minutes of heavy psychedelia. Vocals disintegrate into the sonic landslide of guitar feedback and synth scree, momentum building until the track rends open the hellmouth with its unthinkable heft. A Luciferian spirit courses through the beatless \"Crapolino\", a tumult of scorched guitar chords, strident FXs and disembodied vocals which bares all the hallmarks of a black mass. And just like that, the group summon some demonic hunting party for \"Knochentanz\" (bone dance), arguably their most immersive creation. Opening with Péron's plangent horn, the track soon establishes a hypnotic c ounterpoint between Irmler's electronic sequences and Diermaier's sparse rhythm, a pulse which continues to build for six minutes as kick drum, snare, shaker and toms pile on beneath the ever-present drone. The storm clears for a second to allow a celestial chord progression to emerge from the darkness before the heavens open and Sosna's snarling, sawing guitar rains down from above, carrying \"Knochentanz\" through its final iteration, a collision of muscular fretwork, percussion freakout and bleeping organ which completes the most psychedelic recording you've never heard. \u003c\/p\u003e\u003cp\u003eThe frazzled optimism of \"Fernlicht\" buzzes away like an acid Beethoven bathed in neons, before the breathless \"Juggernaut\" stretches the definition of blues rock to its limit as squirming sine waves, clattering cymbals and corrosive guitars pan, reverse and overlap, each following its own unhinged rhythm. Then for a time the sound and the fury abate, making space for the frankly sublime \"Schön Rund\", a piano-led diversion into the soul-swelling realms of ECM jazz and fin de siècleimpressionism, which rivals anything else in their catalogue for pure beauty. 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At the time, I was operating on the fifth floor of a former backyard factory on Graefe-Str. in Berlin Kreuzberg with my Neue Deutsche Welle Band \u003cstrong\u003eLILLI BERLIN\u003c\/strong\u003e. We'd turned the space into a small music and rehearsal studio where we set up a TASCAM 8-track tape recorder, a 12-channel MM mixer that roared like hell, a Mini-Moog, and a ROLAND Jupiter-6 synthesizer. This is where the basic recordings for \u003cem\u003eOCEANHEART\u003c\/em\u003e were made. Essentially sequences and chords, which I then added piano, drums, Indian tablas, and solo voices to in Christoph Franke's (Tangerine Dream) studio in Berlin Spandau. 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I really enjoyed working on \u003cem\u003eOCEANHEART REVISITED\u003c\/em\u003e and I'd like to share this experiment with you.\" Harald Grosskopf, January 2023.\u003c\/p\u003e\n\n\u003cp\u003eTracklist LP1\u003cbr\u003e\n01. \"Eve On The Hill\"\u003cbr\u003e\n02. \"While I'm Walking\"\u003cbr\u003e\n03. \"Oceanheart\"\u003cbr\u003e\n04. \"Coming Out\"\u003cbr\u003e\n05. \"Pondicherry Dream\"\u003cbr\u003e\n06. \"Minimal Boogie\"\u003c\/p\u003e\n\n\u003cp\u003eTracklist LP2\u003cbr\u003e\n01. \"Eve On The Hill (Ocean Revisited)\"\u003cbr\u003e\n02. \"While I'm Walking (Ocean Revisited)\"\u003cbr\u003e\n03. \"Oceanheart (Ocean Revisited)\"\u003cbr\u003e\n04. \"Coming Out (Ocean Revisited)\"\u003cbr\u003e\n05. \"Pondicherry Dream (Ocean Revisited)\"\u003cbr\u003e\n06. \"Minimal Boogie (Ocean Revisited)\"\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":50383962079563,"sku":"2013256","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50383962210635,"sku":"2013262","price":40.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_66e58167_thumbnail_4096.jpg?v=1726280631"},{"product_id":"after-the-heat","title":"After The Heat","description":"\u003cp\u003e\u003cem\u003eAfter the Heat\u003c\/em\u003e is the 1978 album by \u003cstrong\u003eBrian Eno\u003c\/strong\u003e and both members of \u003cstrong\u003eCluster\u003c\/strong\u003e, namely Dieter Moebius and Hans-Joachim Roedelius. This album represents the second collaboration by the trio, the first being 1977's \u003cem\u003eCluster and Eno\u003c\/em\u003e. Again, it was created in collaboration with the hugely influential krautrock producer, Conny Plank.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eBrian Eno\u003c\/strong\u003e was certainly instrumental in creating and popularizing the concept of 'ambient music' - but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air, both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant.\u003c\/p\u003e\n\n\u003cp\u003eWhat is certain is that \u003cstrong\u003eBrian Eno\u003c\/strong\u003e attended a \u003cstrong\u003eCluster\u003c\/strong\u003e concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: \u003cem\u003eCluster and Eno\u003c\/em\u003e and \u003cem\u003eAfter the Heat\u003c\/em\u003e.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"LP.","offer_id":50384236642635,"sku":"315414","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD.","offer_id":50384236872011,"sku":"315413","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/624733e4-fcc2-4697-9e58-101aa44446f3_thumbnail_4096.jpg?v=1726291457"},{"product_id":"martin-rev","title":"Martin Rev","description":"\u003cp\u003eIn 1980, \u003cstrong\u003eMartin Rev\u003c\/strong\u003e released his eponymous debut solo record, following the second Suicide LP. This album is considered one of the most seminal works in the early years of electronic music.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eMartin Rev\u003c\/strong\u003e recalls the circumstances surrounding the creation of his solo disc: \"At that time, soon after the release of the first Suicide album, Marty Thau (founder of Red Star Records) asked me if we could do a solo record. It was decided by all of us that it might be too soon, even though Marty was thinking of an instrumental album as well. I knew Charles Ball quite well - his new label Lust\/Unlust had, until then, only put out singles and EPs. One night, I went into an empty CBGB's, I had a feeling that he might be there and would approach me on the idea. He was, and he came right over to me and asked me if I would make an album, his first on the label.\"\u003c\/p\u003e\n\n\u003cp\u003eThe tension between his hypnotic drum machine salvoes and \u003cem\u003eAlan Vega’s\u003c\/em\u003e irrepressibly expressive voice on stage or in the studio created an electrifying mix. These six supremely minimal compositions were impactful even without Vega’s voice.\u003c\/p\u003e\n\n\u003cp\u003eThe enchanting simplicity of the beautiful bubblegum melodies in the opening pieces \"\u003cem\u003eMari\u003c\/em\u003e\" and \"\u003cem\u003eBaby Oh Baby\u003c\/em\u003e\" is evident. Like a clandestine heart, embedded in dissonant textures and infinite rhythm loops, the music echoes the doo-wop and rock 'n' roll songs of New York.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eMartin Rev\u003c\/strong\u003e's own music is etched with an incongruousness that reflects the influence of the city. Suicide’s records and the solo works of \u003cstrong\u003eMartin Rev\u003c\/strong\u003e stand out from their European contemporaries like Kraftwerk, Tangerine Dream, or Jean-Michel Jarre.\u003c\/p\u003e\n\n\u003cp\u003eDespite being described as dystopian psychedelia, the music glows with warmth. The sounds grab you instantly and, through endless repetition, never let you go. \u003cstrong\u003eMartin Rev\u003c\/strong\u003e's 1980 debut offers insight into the beginnings of an impressive solo career that influenced successive generations of artists.\u003c\/p\u003e\n\n\u003cp\u003eThis album remains as enthralling today as it was upon its initial release. - Daniel Jahn, July 2023.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklisting\u003c\/strong\u003e\u003cbr\u003e\nA1. Mari\u003cbr\u003e\nA2. Baby O Baby\u003cbr\u003e\nA3. Nineteen 86\u003cbr\u003e\nB1. Temptation\u003cbr\u003e\nB2. Jomo\u003cbr\u003e\nB3. 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With tired eyes, the collective usually sat together into the early hours and listened to the takes that the day's work had produced.\u003c\/p\u003e\n\n\u003cp\u003eThe compelling rhythm, the supreme discipline of the band founded in 1989, has always been inherent in their work, and with the housy Hausmann a collective wish arose: here we need a remix! The desire then grew and spread over the entire album ...\u003c\/p\u003e\n\n\u003cp\u003eRemix albums have already become a tradition in the 30-year history of the collective: In 2001, the legendary label Mute Records released the album \u003cem\u003eMikroprofessor\u003c\/em\u003e with remixes by DJ Koze, Thomas Fehlmann, Justus Köhncke, and To Rococo Rot. In 2011, the Goldstein Variations Remixes followed, including versions by Erobique, Tobias Thomas, but also by Ada and Mense Reents, who we will meet again here.\u003c\/p\u003e\n\n\u003cp\u003eTimidly, the band began to ask their favorite producers, most of whom agreed without hesitation. Soon, a top-class remix album with a Who’s Who of the local electronic music landscape was ready and even if only the bases of the pieces are recognizable, a completely new listening experience has been created here.\u003c\/p\u003e\n\n\u003cp\u003eIt's grown into an independent work through the versatility of the participants and their expertise and can be enjoyed detached from the original material. As if by magic, a simultaneously stringent and diverse vibe has emerged that makes \u003cem\u003eOui Mixe\u003c\/em\u003e more than just an addition to \u003cem\u003eOui Bitte\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eWe start with Berghain regular Efdemin, who takes on the instrumental song \"20.000 Meilen unter dem Mond.\" Efdemin, real name Phillip Sollmann, belonged to the core of Dial Records and now releases on Ostgut Ton.\u003c\/p\u003e\n\n\u003cp\u003eHausmann, the origin of the remix idea, in the hands of Paul Frick is transformed into a Hi-NRG house number. Paul Frick is not only one third of Brandt-Brauer-Frick, but currently also a member of the legendary Tangerine Dream - a favorite band in the house of Station 17.\u003c\/p\u003e\n\n\u003cp\u003ePantha du Prince picks up the energy of the whole album rebuilding Pusch on a pressing bass drum. Pantha du Prince, who has released modern classics of electronic music with \u003cem\u003eThis Bliss\u003c\/em\u003e and \u003cem\u003eBlack Noise\u003c\/em\u003e, was in Thailand during the production.\u003c\/p\u003e\n\n\u003cp\u003eThe Andreas Dorau number \u003cem\u003eDer Monat\u003c\/em\u003e is handled here by Toto Belmont from Helsinki. His association with the Hardwax Spectrum is clearly audible, but Kimmo Saastamoinen, as he is actually known, has long since found his own sound: Subtly driving, always slightly melancholic and peppered with billowing delays that you want to immerse yourself in.\u003c\/p\u003e\n\n\u003cp\u003eThe number of projects in which Mense Reents has already participated is enormous. Let's limit ourselves here to his electronic projects Egoexpress and Die Vögel - and of course Die Goldenen Zitronen, among whose incredibly accomplished musicianship he is a big part of. The song \u003cem\u003eBewegung\u003c\/em\u003e is given a subtle dancehall riddim and so many amazing details are flying around in the sound so that close-listening is recommended here without doubt.\u003c\/p\u003e\n\n\u003cp\u003eThe biggest surprise is probably delivered by Ada: instead of moving the track \u003cem\u003eAufgehoben\u003c\/em\u003e, recorded again with Dorau, to the club, she simply wrote new music around the vocals, singing over them herself while picking up the trace elements of the original.\u003c\/p\u003e\n\n\u003cp\u003eMichaela Dippel has ventured furthest away from the foundation and yet remains true to it: she picked up the melody that was lying there (according to the text) on the floor, sang it - and it sounded beautiful. 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Working as a production team since the late 1980s in various guises such as Acid Jesus, Alter Ego and Primitive Painter, the pair also founded several labels with DJ Ata and Heiko MSO (Ongaku, Klang Elektronik, Playhouse). They released their debut album as Sensorama in 1995. The Darmstadt duo blazed completely new trails in those days, as Andreas Dorau noted: «Sensorama is artful techno, what one used to call intelligent techno. All in the best of taste, not so far removed from the realms of fine art.» Their music draws on a wide range of influences which reach far beyond the generic borders of techno. «Inspired by the the Krautrock of the 1970s, they were less interested in making Frankfurt Techno than they were in the electronic music of NEU!, Cluster and Kraftwerk. A Darmstadt-Düsseldorf axis, so to speak,» Christoph Dallach explains. «They kept records in the studio by the likes of La Düsseldorf or Pyrolator, playing them from time to time to refresh their auditory nerves, to clean out their ears.». Sensorama released the last of their three albums in 2001, leaving us with an extraordinary body of work  which still resonates today. Charlotte Goltermann, founder of the Ladomat 2000 label and A\u0026amp;R manager for the third LP, recalls: «I’ve rarely come across artists who had such a clear idea of what they wanted – or did not want and consequently would not do. They were artists without fear, who would not shut out anyone who loved music, yet remained strictly underground themselves.» The new compilation \"Where The Rabbit Sleeps\" offers a deep insight into the musical world of  Sensorama. It is available on CD or as a double LP with a gatefold cover, remastered by Andreas [Lupo] Lubich, with new artwork by Rike Weigert and liner notes by Charlotte Goltermann, Christoph Dallach and Andreas Dorau. Tracklist 01. Echtzeit 02. Where The Rabbit Sleeps 03. Aeroplane City 04. Zone 30 05. Star Escalator 06. New Aged 07. Exil 08. Rusty Pins 09. Unbekannt Verzogen 10. Helgoland 11. Sunday Morning Superstar 12. Porzellangarten 13. 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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 at their disposal. Even the first act of replication meant moving into illegal territory, since every duplication was strictly sanctioned and had to be authorised by state authorities. Just like anything else, whether in print or where live shows were concerned. The protagonists - musicians, painters, poets, filmmakers, performers... (often all at once) - were openly and unbiased crossing genres and jumping back and forth between various styles, having already taken their internal leave from state and society as they had done externally anyway. Disillusioned, and often ready to jump towards the West, these border crossers defined themselves rather somewhere between non- and anti-political, pursuing self-actualisation 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, utilising 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), labour 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, even full albums by these so-called \"other bands\" were released on the state-owned label AMIGA. The collapse following soon after relieved the activists remaining in the country of the quandary of continually having 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 artefacts from that era tell of a stance of refusal in practice, and of the possibility to charge up on a high level, in spite of everything. Between being excluded and self-exclusion, truly wayward (twice literally) sounds and means of expression were developed. \"Congruent with the absurdity of real existence\", as lyricist and scene node Bert Papenfuß put it. Papenfuß, together with Ronald Lippok, Bernd Jestram and Bo Kondren, themselves active musicians then and now, compiled two companion CDs accompanying the long sold-out Zonic special edition \u003ci\u003eSpannung. Leistung. Widerstand. 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However, the radical and distinctive nature of his music can be traced further back in time, originating in the base energy of rock’n’roll which the teenage Rev experienced as the ubiquitous soundtrack to his home city of New York. \u003c\/p\u003e\u003cp\u003e  Rev initially explored free jazz and similarly free forms of musical expression before discovering the magnetic attraction of electronic production and instrumentation, enabling him to create music in a wholly independent and autonomous environment. Using the most rudimentary equipment, he grafted the roots of rock’n’roll into the process of combining effects and devices to generate electrified sounds, the likes of which had never been heard before. This music would map out the way forward not only for Suicide, but also for a fascinating solo career. \u003c\/p\u003e\u003cp\u003e  Martin Rev’s predilection for experimentation knew no bounds. At home, he played around with rough ideas, trying out all manner of variations and colorations. These tape recordings provide a captivating insight into his modus operandi, often representing the early stages of what would later become Suicide tracks or cuts on Rev’s solo albums. \u003c\/p\u003e\u003cp\u003e  Spanning the period 1973 to 1985, the recordings on \"The Sum of Our Wounds\" are much more than a collection of demos and outtakes. One has the sense of listening to a rounded album of familiar compositions, now portrayed in a completely new light. 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Although they often seem to take on a lot of texture as well and with a warm response.\" \u003c\/p\u003e\u003cp\u003eAnd so these snapshots can be seen as stages of a ceaseless evolution, one we are allowed to witness as we sit alongside Martin Rev at the tape deck, listening as he captures the sounds of the unquiet city.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"Red LP","offer_id":50393843499339,"sku":"2051260","price":31.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50393843171659,"sku":"2051258","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50393843302731,"sku":"2051259","price":30.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/image006_35a2c182_thumbnail_4096.jpg?v=1726428328"},{"product_id":"metaluna","title":"Metaluna","description":"\u003cp\u003eThe avant-garde Kraut ensemble \u003cstrong\u003eSupersempfft\u003c\/strong\u003e laid the foundation for their techno-tropical pop music in 1979 with their debut album \u003cem\u003e\"Roboterwerke.\"\u003c\/em\u003e In 1981, they followed up with the album \u003cem\u003eMetaluna\u003c\/em\u003e, which is now being honored through a re-release on Bureau B.\u003c\/p\u003e\n\n\u003cp\u003eThe group, consisting of Dieter Kolb, Franz Knüttel, and Franz Aumüller, fused global influences, experimental sonic landscapes, and surreal lyrics into a unique sonic cosmos. \u003cem\u003eMetaluna\u003c\/em\u003e stands out with its meandering sequences, unconventional rhythms, and psychedelic songwriting that remains groundbreaking even decades later.\u003c\/p\u003e\n\n\u003cp\u003eWe live in the data-rich days of the Internet age, when globalization and mass communication have trivialized time and space, and fusion is now commonplace. 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The postmodern project comprised of musical genius, Dieter Kolb, computer whiz Franz Knüttel and the boundlessly creative Franz Aumüller, whose vibrant visuals and surreal lyrics situated their sound in a universe all of its own.\u003c\/p\u003e\n\n\u003cp\u003eOperating out of the basement of Dieter’s parents’ instrument shop, the band began to explore their interests and share their talents with no consideration of a commercial goal. Rejecting rock from the off, Kolb dove into his love of global styles, surfacing only to borrow display models from upstairs which were swiftly modified by Knüttel to reveal bold electronic possibilities beyond their intended use.\u003c\/p\u003e\n\n\u003cp\u003eRecognizing his own shortcomings behind the kit, Knüttel built his own drum machine, \u003cem\u003eRoboterwerke\u003c\/em\u003e, which piqued the interest of Kraftwerk, Herbie Hancock, and Tangerine Dream, and piece-by-piece their kaleidoscopic pop began to coalesce. The industry soon took notice, and a debut album emerged on CBS in ’79, though didn’t score the sales it deserved.\u003c\/p\u003e\n\n\u003cp\u003eAfter the first album, Kolb and Aumüller’s love of reggae and dub took them on a transatlantic trip to Trinidad and Tobago under the false assumption that all the islands stepped to the Jamaican style. Any momentary disappointment was soon dispelled by the liveliness and optimism of calypso and soca, and a life affirming experience at carnival left them awestruck and inspired.\u003c\/p\u003e\n\n\u003cp\u003eBack home, they began work on \u003cem\u003eMetaluna\u003c\/em\u003e, a wild combination of roving sequences, tropical rhythms, squashed brass, and yearning vocals which sprints, skanks and soars through ten triumphant tracks. Amid the metallic beats and interplanetary idents lurk sublime melodies and soulful motifs, psychedelic songwriting reminiscent of Barrett, Beefheart, or Brian Wilson at their best.\u003c\/p\u003e\n\n\u003cp\u003eIn their dubbier moments, \u003cstrong\u003eSupersempfft\u003c\/strong\u003e sound like Lee Perry jamming on an alien console, with wild panning and delirious FX suggesting a sound clash on a distant planet. Meanwhile, the arcade exuberance, vocoder gospel, and space-age ballads predate the sweltering synth-pop of The Knife, Hot Chip, and Ariel Pink by a full two decades, setting a bar that their successors still fail to meet.\u003c\/p\u003e\n\n\u003cp\u003eEven if you expect the unexpected, there’s still room for one looney tune to take you by surprise as the jazzy \u003cem\u003e“Farewell Goodbye”\u003c\/em\u003e sinks the Cole Porter songbook in the nearest wormhole. 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On \"Wie das Wispern des Windes\", Roedelius played his way into virgin territory, as new to his listeners as it was to him. It’s 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 albums (\"Like the whispering of the wind\") so poetically and yet so accurately described its content. Roedelius expands his Études towardsamorphousness, then suddenly a disarmingly familiar melody appears, from a completely different source perhaps (Harmonia? Cluster?). To continue the poetic theme of the LP’s 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. 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One of the founders of the rock band Streetmark and a member until its end, Raukes collected six synthesizer treasures for Deutsche Wertarbeit -  from the hypnotic to the hymnal, at times 'cosmic'. Originally released in 1981 on Sky Records.\u003c\/p\u003e","brand":"Bureau B","offers":[{"title":"CD","offer_id":50396514845003,"sku":"2168543","price":17.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50396515991883,"sku":"2168553","price":30.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/BB047V_118988d3_thumbnail_4096.jpg?v=1726482897"},{"product_id":"the-cabinet-of-dr-caligari-2","title":"The Cabinet of Dr Caligari","description":"\u003cp\u003eMusician and writer \u003cstrong\u003eKarl Bartos\u003c\/strong\u003e has long been an admirer of Weimar-era culture. During his time in Kraftwerk, he helped create the stunning track \"\u003cem\u003eMetropolis\u003c\/em\u003e,\" directly inspired by a band viewing of the classic 1927 Fritz Lang film of the same name.\u003c\/p\u003e\n\n\u003cp\u003eThe original orchestral music composed for \u003cem\u003eThe Cabinet of Dr. Caligari\u003c\/em\u003e by Giuseppe Becce had long been lost and in 2005, after watching the film, Bartos imagined what it would be like to create an entirely new one in the 21st Century in his home studios in Hamburg.\u003c\/p\u003e\n\n\u003cp\u003eNow with crystal clear images, digitally restored by the Friedrich-Wilhelm-Murnau-Foundation, the film is visually the best quality it has ever been. With Bartos' soundtrack, there is impressive sound to go with the haunting vision.\u003c\/p\u003e\n\n\u003cp\u003eNarrative film music and sound design for Robert Wiene's classic 1920 psychological thriller. For the task, Bartos ransacked his own library of musical compositions, recreating pieces he had written as a young classical musician in his pre-Kraftwerk days whilst creating new sounds, melodies, and textures.\u003c\/p\u003e\n\n\u003cp\u003eThe intention was not simply to write a film score per se. This was to be an immersive listening experience with special sound effects to match the action as we enter the film as both spectator and participant.\u003c\/p\u003e\n\n\u003cp\u003eBy taking the characteristics of Expressionism in the arts and transferring them into film making, a disturbing, distorted depiction of reality enwrapped and entrapped the viewer. The subjective replaces the objective.\u003c\/p\u003e\n\n\u003cp\u003eWe are sucked into a parallel world lit in menacing chiaroscuro, where dimension, proportion, and perspective are all off skew. 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Today, the Aachener Strasse shop in the Bilk district of Düsseldorf survives in a few Polaroid pictures and video recordings made by Agi Yuzuru and Mamoru Shibuya, two journalists visiting from Osaka.\u003c\/p\u003e\n\n\u003cp\u003eThe label shut down in October 1982 and, in the years that followed, the original cassettes, master tapes and artwork were either given away or misplaced. The recordings you can listen to here have been gleaned from private collections of well-preserved cassettes, painstakingly restored and digitalized. Rainer Rabowski: “At the very moment when the label and shop needed to reinvent themselves, I would have had to come up with a new business model, something I had never wanted to do.” The end came about quite innocuously, with no explanation. Rainer Rabowski and Stefan Schneider, Düsseldorf March 2023.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist (Artist \u0026amp; Track)\u003c\/strong\u003e\u003cbr\u003e\n01. \u003cem\u003eStrafe für Rebellion\u003c\/em\u003e - \"Blaue Mig\"\u003cbr\u003e\n02. \u003cem\u003eRoter Stern Belgrad\u003c\/em\u003e - \"Ta Ku Sey\"\u003cbr\u003e\n03. 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On the one hand, there are clear traces of 1970s and early 1980s Kraut electronica, echoes of Cluster or Neu! and an af nity to Manuel Göttsching and Michael Rother. Saxophones, mellotrons and analogue synthesizers disappear through sequencer trails, dotted with \"Star Trek\" references and guitar samples. On the other hand, there is a certain edginess which is not so far removed from the hectic nature of early NDW (German New Wave) as it emerged in the Federal Republic – and, in anticipation of future electronica, a compositional rigour associated with the likes of Thomas Fehlmann and 90s techno. Now, some 43 years later, \"Die Partei\" are back. Dokoupil and Dahn spent a little longer working on the new album: a full two years. \"Celaviemachinery\" is an apposite title for a machine of sentimentality such as this. Thoroughly refreshed in terms of sound, Die Partei are clearly speaking to the 21st century, but even more so \"Mouchette\" on the cover transports us back to a world in which European art was still wild. \"Celaviemachinery\" opens with a dreamy soundtrack to a return journey. \"La Freiheit des Geistes\" began with a \"Guten Morgen in Köln\" and ended with \"Nord-Süd-Fahrt\". Here, the direction is reversed as we embark on a \"Süd-Nord-Fahrt\". Back we go, pulsating pleasantly, the old beatbox on the luggage rack ceding centre stage to the musical landscapes passing by the window. Time and again, old vinyl friends appear eetingly on the horizon. Could that be Harald Grosskopf? That looks like Tyndall's \"Traumland\" and, even if Walter Dahn never tires of citing \"Ralf \u0026amp; Florian\" as the most important record in the Kraftwerk catalogue, tracks like \"Domino\" or the title track itself are audibly reminiscent thereof. A genuine remake pops up in the form of \"Untitled Filmstill\": this is what \"India\" would have sounded like if Roxy Music had been a German band. \"Celaviemachinery\" is far more than an exercise in borrowing, however, the album lives primarily through its compositional beauty. The elegaic luxury of \"Here come the warm jets\" or \"Autoselbstfahrer\", which revolves gleefully on its own axis, the ominously fraught \"Nacht zum Tag\" or the conciliatory melancholy of the nal piece \"Heb mich auf\". It all amounts to a beautiful experience, inviting the listener to dive into twelve short hypnosis sessions (over and over). Anyone familiar with Dokoupil and Dahn's machineries will understand how lucky we are to have Die Partei with us again. 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Bureau B are excited to announce the arrival of a new Jimi Tenor double album! Following on from last year's\u003ci\u003e NY, Hel, Barca\u003c\/i\u003e compilation which showcased Tenor's early works and cuts from his first six albums, \u003ci\u003eDeep Sound Learning\u003c\/i\u003e shines a spotlight on unreleased tracks from 1993 to the year 2000. This intensely prolific period saw Tenor send countless DAT tapes to Warp Records, his label at the time, who stacked up the recordings in the office safe. Some of the songs preserved on those DATs made their way onto various Tenor LPs - whilst others remained unreleased to this day.\u003c\/p\u003e\u003cp\u003eJimi Tenor and Bureau B have retrieved said tapes and crafted a double album (CD\/LP) of previously unheard tracks in what is much more than a simple archival exposition. 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