TYNDALL - Forced Exposure

$17.00 IN STOCK

Bureau B present a reissue of Tyndall's Durch Die Zeiten, originally released in 1983. Having successfully released three albums, the Berlin-based electronic duo Tyndall fell out so badly with one another in 1983 that they ended up splitting the fourth album in two, taking a side each. Jürgen Krehan's half showcases his customarily nimble synth-pop, as well as several pieces influenced by classical music. Rudi Langer launches into celestial revelry on the other side, underpinned here and there by a driving beat. Nevertheless: both sides sound unmistakably like Tyndall. On Durch Die Zeiten Jürgen Krehan used a music computer for the first time, aided by a mysterious musician by the name of Yin Yang from Tokyo, according to the original credits, who apparently contributed computer programs and two tracks entitled "Barock" and "Klassik". Yin Yang may well be a pseudonym Krehan used, also surfacing on the rare and highly-prized cassette Flusswelt released on David Elliott's YHR Tapes label in 1983. As anticipated by the last tracks of the previous album, 1982's Reflexionen (BB 288CD/LP), the pieces here are structurally clearer, more developed, moving in a more classical direction, away from synth-pop. Rudolf Langer opens the B side with a track called "Kambrium". This geological era was ushered in by the "Cambrian explosion". He paints this "big bang" of animal life in almost religious, idyllic, fanciful tones, with roaring sounds and futuristic pitch sweeps. The next track, "Silur", references the Silurian period, characterized by massive tectonic activity which precipitated biological crises. Next up, the jovially marching "Karbon" may be Langer's vision of the indefatigable cycle of luxuriant vegetation as it sought to survive in the carbon deposits of this age. The LP finishes with a track dedicated to the Permian period. In retrospect, a certain conceptual rigor can be attributed to Tyndall's releases. A common thread runs through each album, allowing the tracks to unfold in sequence. On the one hand, the album borrows from classical notions, on the other, Langer's playfully impressionistic works. Durch Die Zeiten was the last record released by the Tyndall duo. Both musicians continued to make music, just not with each other. Rudolf Langer teamed up with Peter Preuß to found LAPRE. Jürgen Krehan released a number of new age albums as Nik Tyndall. This reissue marks the first CD issue of Durch Die Zeiten.

$26.00 IN STOCK

LP version. Bureau B present a reissue of Tyndall's Durch Die Zeiten, originally released in 1983. Having successfully released three albums, the Berlin-based electronic duo Tyndall fell out so badly with one another in 1983 that they ended up splitting the fourth album in two, taking a side each. Jürgen Krehan's half showcases his customarily nimble synth-pop, as well as several pieces influenced by classical music. Rudi Langer launches into celestial revelry on the other side, underpinned here and there by a driving beat. Nevertheless: both sides sound unmistakably like Tyndall. On Durch Die Zeiten Jürgen Krehan used a music computer for the first time, aided by a mysterious musician by the name of Yin Yang from Tokyo, according to the original credits, who apparently contributed computer programs and two tracks entitled "Barock" and "Klassik". Yin Yang may well be a pseudonym Krehan used, also surfacing on the rare and highly-prized cassette Flusswelt released on David Elliott's YHR Tapes label in 1983. As anticipated by the last tracks of the previous album, 1982's Reflexionen (BB 288CD/LP), the pieces here are structurally clearer, more developed, moving in a more classical direction, away from synth-pop. Rudolf Langer opens the B side with a track called "Kambrium". This geological era was ushered in by the "Cambrian explosion". He paints this "big bang" of animal life in almost religious, idyllic, fanciful tones, with roaring sounds and futuristic pitch sweeps. The next track, "Silur", references the Silurian period, characterized by massive tectonic activity which precipitated biological crises. Next up, the jovially marching "Karbon" may be Langer's vision of the indefatigable cycle of luxuriant vegetation as it sought to survive in the carbon deposits of this age. The LP finishes with a track dedicated to the Permian period. In retrospect, a certain conceptual rigor can be attributed to Tyndall's releases. A common thread runs through each album, allowing the tracks to unfold in sequence. On the one hand, the album borrows from classical notions, on the other, Langer's playfully impressionistic works. Durch Die Zeiten was the last record released by the Tyndall duo. Both musicians continued to make music, just not with each other. Rudolf Langer teamed up with Peter Preuß to found LAPRE. Jürgen Krehan released a number of new age albums as Nik Tyndall. This reissue marks the first CD issue of Durch Die Zeiten.

$17.00 IN STOCK

Bureau B present a reissue of Tyndall's third album, Reflexionen, originally released in 1982. The third Tyndall album is less experimental than the electronic duo's previous work from 1981 Traumland (BB 287CD/LP). The songs, featuring vocoder vocals, are more clearly structured into verses and choruses, the arrangements more considered. Stylistically, Reflexionen is a mix of synth-pop and electronic krautrock, at times not a million miles away from the early works of Andreas Dorau. More so than on their preceding instrumental albums, Tyndall's Reflexionen held a mirror to the band members' personal situation and the prevalent mood of the period during which they made the record. First of all, the two musicians (Rudolf Langer, Jürgen Krehan) had relocated to West Berlin, an exclave in the GDR. Due to the fact that German military was forbidden by the Allied Powers in West Berlin, neither Krehan nor Langer had to do national service or its alternative, community service. Meanwhile, 1982 was the year when German-speaking pop and rock found its way into the charts alongside old-fashioned Schlager songs. Punk and new wave had done the groundwork a few years earlier, but the music of bands like Fehlfarben, Deutsch Amerikanische Freundschaft, or the Doraus Und Die Marinas were now ready to enter the mainstream under the banner of Neue Deutsche Welle. Music with German lyrics was flavor of the season. On a lot of tracks Jürgen Krehan sings in German on Reflexionen as well (using a vocoder). Reflexionen is a less experimental album than its predecessor Traumland. Due in no small measure to the vocoder vocals with verses and choruses, the tracks feel more clearly structured, the arrangements more considered. Bass octave, simple, breezy, dreamy harpsichord melody sprinkles, cheerful, carefree, sometimes enigmatic lyrics. The album closes with a series of eminently listenable instrumentals, which hint at the next stage of musical evolution which would ultimately reach its conclusion on the fourth and final Tyndall album. This reissue marks the first CD issue of Reflexionen.

$26.00 IN STOCK

LP version. Bureau B present a reissue of Tyndall's third album, Reflexionen, originally released in 1982. The third Tyndall album is less experimental than the electronic duo's previous work from 1981 Traumland (BB 287CD/LP). The songs, featuring vocoder vocals, are more clearly structured into verses and choruses, the arrangements more considered. Stylistically, Reflexionen is a mix of synth-pop and electronic krautrock, at times not a million miles away from the early works of Andreas Dorau. More so than on their preceding instrumental albums, Tyndall's Reflexionen held a mirror to the band members' personal situation and the prevalent mood of the period during which they made the record. First of all, the two musicians (Rudolf Langer, Jürgen Krehan) had relocated to West Berlin, an exclave in the GDR. Due to the fact that German military was forbidden by the Allied Powers in West Berlin, neither Krehan nor Langer had to do national service or its alternative, community service. Meanwhile, 1982 was the year when German-speaking pop and rock found its way into the charts alongside old-fashioned Schlager songs. Punk and new wave had done the groundwork a few years earlier, but the music of bands like Fehlfarben, Deutsch Amerikanische Freundschaft, or the Doraus Und Die Marinas were now ready to enter the mainstream under the banner of Neue Deutsche Welle. Music with German lyrics was flavor of the season. On a lot of tracks Jürgen Krehan sings in German on Reflexionen as well (using a vocoder). Reflexionen is a less experimental album than its predecessor Traumland. Due in no small measure to the vocoder vocals with verses and choruses, the tracks feel more clearly structured, the arrangements more considered. Bass octave, simple, breezy, dreamy harpsichord melody sprinkles, cheerful, carefree, sometimes enigmatic lyrics. The album closes with a series of eminently listenable instrumentals, which hint at the next stage of musical evolution which would ultimately reach its conclusion on the fourth and final Tyndall album.

$17.00 IN STOCK

Bureau B present a reissue of Tyndall's debut album, Sonnenlicht, originally released in 1980 on Sky Records. The two electronic sonic inventors Jürgen Krehan and Rudolf Langer founded Tyndall in the year 1980, naming their duo after a light scattering phenomenon in physics. Armed with an impressive array of instruments, devices, and home-made synthesizers, they created free and easy electronic music in the style of the Berlin School (Berliner Schule), much to the liking of the legendary Sky Records who released their debut album. The Tyndall effect becomes visible, when light beams are deflected by microscopic particles in suspension. This explains the patterns of light we see when the sun shines through mist or fog for example. The very name of Tyndall evokes a bigger picture -- in the same way as celestial light was a common feature of canvasses in Romanticism and the Renaissance: a dramatic symbol for the overwhelming beauty of nature. Musically speaking, the album fits seamlessly into the Sky Records canon of the period. It nicely illustrates how synth pop sounded in those days: luxuriant indulgence in synthetic sounds, arpeggios, bass sequences, carefree melodies, accompanied and powered by synth escapades and a computer beat. Tyndall owned the very first CR-78 drum computer in Germany, provided by the manufacturer Roland before the official street date when they heard it was to be used on an LP recording. Today the CR-78 is regarded as a drum computer classic. The duo also deployed a formidable range of analog instruments: several semi-modular Roland System synthesizers, a Hohner String Melody String Machine, and electric pianos. This list also formed the basis of their live arsenal for the many concerts they played. Sonnenlicht reflects their cheerful, nonchalant journey into new territory. Sonic explorations and sweet melodies spread out over octave basses, delays, and arpeggio patterns. The musicians were not afraid to add layers of noise or effects -- albeit not quite to the same extent as they would on their next album, 1981's Traumland (BB 287CD/LP). This reissue marks the first CD issue of Sonnenlicht.

$26.00 IN STOCK

LP version. Bureau B present a reissue of Tyndall's debut album, Sonnenlicht, originally released in 1980 on Sky Records. The two electronic sonic inventors Jürgen Krehan and Rudolf Langer founded Tyndall in the year 1980, naming their duo after a light scattering phenomenon in physics. Armed with an impressive array of instruments, devices, and home-made synthesizers, they created free and easy electronic music in the style of the Berlin School (Berliner Schule), much to the liking of the legendary Sky Records who released their debut album. The Tyndall effect becomes visible, when light beams are deflected by microscopic particles in suspension. This explains the patterns of light we see when the sun shines through mist or fog for example. The very name of Tyndall evokes a bigger picture -- in the same way as celestial light was a common feature of canvasses in Romanticism and the Renaissance: a dramatic symbol for the overwhelming beauty of nature. Musically speaking, the album fits seamlessly into the Sky Records canon of the period. It nicely illustrates how synth pop sounded in those days: luxuriant indulgence in synthetic sounds, arpeggios, bass sequences, carefree melodies, accompanied and powered by synth escapades and a computer beat. Tyndall owned the very first CR-78 drum computer in Germany, provided by the manufacturer Roland before the official street date when they heard it was to be used on an LP recording. Today the CR-78 is regarded as a drum computer classic. The duo also deployed a formidable range of analog instruments: several semi-modular Roland System synthesizers, a Hohner String Melody String Machine, and electric pianos. This list also formed the basis of their live arsenal for the many concerts they played. Sonnenlicht reflects their cheerful, nonchalant journey into new territory. Sonic explorations and sweet melodies spread out over octave basses, delays, and arpeggio patterns. The musicians were not afraid to add layers of noise or effects -- albeit not quite to the same extent as they would on their next album, 1981's Traumland (BB 287CD/LP).

$17.00 IN STOCK

Bureau B present a reissue of Tyndall's second album Traumland, originally released in 1981 on Sky Records. The electronic sonic inventors Tyndall pulled out all the stops for their second album. Armed with an impressive array of analog synthesizers, they unleashed the full force of their experimentalist ambitions, weaving synth pop, repetitive bass patterns, laminar sounds, and carefree melodies into a unique amalgam of the Düsseldorf and Berlin Schools. Traumland was released a year after their debut effort Sonnenlicht (BB 286CD/LP). As the title ("Dreamland") suggests, Jürgen Krehan and Rudolf Langer left the earthly realm behind to draw the listener into an almost surreal dream of cheerfully fluting miniatures, as alien as they are imaginative. Traumland is far more experimental than its predecessor, at times even recalling early works of Düsseldorf's synthesizer-pop exponents of the avant garde, Der Plan. Krehan and Langer shared a passion for creating their own electronic instruments, yet when it came to recording the second album, as on their debut, they supplemented the ones they had built with a considerable amount of purchased equipment. This growing arsenal now included several semi-modular Roland System synthesizers. Roland premiered the System 100 in 1975, acknowledged today as one of the very best sounding analog synthesizers, boasting the trademark Roland timbre. Aficionados tend to prefer the System 100 to its considerably more powerful successor the 100m on account of its warm, vibrant sound, and its excellent playing characteristics. The system was immensely popular with other bands in the electronic field such as Tangerine Dream and Depeche Mode. This massive analog synth armory can clearly be heard on Traumland. On many tracks, filtered basslines condense into a funky foundation of looping miniatures. Juicy drum sounds and strikingly hard synth sequences are coupled with saccharine organ and prancing flute sounds, countered by a noise generator or lost in a maelstrom of experimental echoes. This reissue marks the first CD issue of Traumland.

$26.00 IN STOCK

LP version. Bureau B present a reissue of Tyndall's second album Traumland, originally released in 1981 on Sky Records. The electronic sonic inventors Tyndall pulled out all the stops for their second album. Armed with an impressive array of analog synthesizers, they unleashed the full force of their experimentalist ambitions, weaving synth pop, repetitive bass patterns, laminar sounds, and carefree melodies into a unique amalgam of the Düsseldorf and Berlin Schools. Traumland was released a year after their debut effort Sonnenlicht (BB 286CD/LP). As the title ("Dreamland") suggests, Jürgen Krehan and Rudolf Langer left the earthly realm behind to draw the listener into an almost surreal dream of cheerfully fluting miniatures, as alien as they are imaginative. Traumland is far more experimental than its predecessor, at times even recalling early works of Düsseldorf's synthesizer-pop exponents of the avant garde, Der Plan. Krehan and Langer shared a passion for creating their own electronic instruments, yet when it came to recording the second album, as on their debut, they supplemented the ones they had built with a considerable amount of purchased equipment. This growing arsenal now included several semi-modular Roland System synthesizers. Roland premiered the System 100 in 1975, acknowledged today as one of the very best sounding analog synthesizers, boasting the trademark Roland timbre. Aficionados tend to prefer the System 100 to its considerably more powerful successor the 100m on account of its warm, vibrant sound, and its excellent playing characteristics. The system was immensely popular with other bands in the electronic field such as Tangerine Dream and Depeche Mode. This massive analog synth armory can clearly be heard on Traumland. On many tracks, filtered basslines condense into a funky foundation of looping miniatures. Juicy drum sounds and strikingly hard synth sequences are coupled with saccharine organ and prancing flute sounds, countered by a noise generator or lost in a maelstrom of experimental echoes. This reissue marks the first CD issue of Traumland.