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2LP
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BB 468BLUE-LP
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$35.00
PREORDER
RELEASE DATE: 10/11/2024
Double LP version. Blue color vinyl. Forty years since their inception, and almost two decades since their last release, art-synth auteurs Propaganda return with a brand-new chapter in their enthralling story. This self-titled set from principal songwriting partnership Ralf Dörper and Michael Mertens embodies the depth and drama of their early work, while exploring fresh sounds and styles, and reflecting the personal and societal changes since their last outing. Conceived and crafted entirely in their native Düsseldorf, a deliberate decision to help them stay true to themselves, and featuring guest appearances from the acclaimed Hauschka and ascendant Thunder Bae, this is Propaganda at their most essential. Though an embryonic incarnation was formed by Ralf Dörper, former synthesist with electro-punks Die Krupps, and Andreas Thein in 1982, it wasn't until the addition of Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as the dark synth-pop powerhouse which would see chart success as part of the ZTT machine. Upon signing with Trevor Horn's irreverent imprint in 1983, Propaganda, now comprised of vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered their classic debut LP A Secret Wish and a slew of international hit singles, "Dr Mabuse," "Duel", and "P Machinery," leaving an indelible mark on the alternative scene and securing an enduring place within the pantheon of synth-dance greats. In an era of impermanence, Propaganda wanted to produce something real -- to be played from start to finish, with artwork and packaging which allows a deeper understanding of the theme of the release. Finding the perfect label to match their ambitions in Bureau B, Propaganda have delivered a third album well worth the wait.
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2LP
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BB 468ORG-LP
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$35.00
PREORDER
RELEASE DATE: 10/11/2024
LP version. Orange vinyl version. Forty years since their inception, and almost two decades since their last release, art-synth auteurs Propaganda return with a brand-new chapter in their enthralling story. This self-titled set from principal songwriting partnership Ralf Dörper and Michael Mertens embodies the depth and drama of their early work, while exploring fresh sounds and styles, and reflecting the personal and societal changes since their last outing. Conceived and crafted entirely in their native Düsseldorf, a deliberate decision to help them stay true to themselves, and featuring guest appearances from the acclaimed Hauschka and ascendant Thunder Bae, this is Propaganda at their most essential. Though an embryonic incarnation was formed by Ralf Dörper, former synthesist with electro-punks Die Krupps, and Andreas Thein in 1982, it wasn't until the addition of Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as the dark synth-pop powerhouse which would see chart success as part of the ZTT machine. Upon signing with Trevor Horn's irreverent imprint in 1983, Propaganda, now comprised of vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered their classic debut LP A Secret Wish and a slew of international hit singles, "Dr Mabuse," "Duel", and "P Machinery," leaving an indelible mark on the alternative scene and securing an enduring place within the pantheon of synth-dance greats. In an era of impermanence, Propaganda wanted to produce something real -- to be played from start to finish, with artwork and packaging which allows a deeper understanding of the theme of the release. Finding the perfect label to match their ambitions in Bureau B, Propaganda have delivered a third album well worth the wait.
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CD
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BB 468CD
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$16.50
PREORDER
RELEASE DATE: 10/11/2024
Forty years since their inception, and almost two decades since their last release, art-synth auteurs Propaganda return with a brand-new chapter in their enthralling story. This self-titled set from principal songwriting partnership Ralf Dörper and Michael Mertens embodies the depth and drama of their early work, while exploring fresh sounds and styles, and reflecting the personal and societal changes since their last outing. Conceived and crafted entirely in their native Düsseldorf, a deliberate decision to help them stay true to themselves, and featuring guest appearances from the acclaimed Hauschka and ascendant Thunder Bae, this is Propaganda at their most essential. Though an embryonic incarnation was formed by Ralf Dörper, former synthesist with electro-punks Die Krupps, and Andreas Thein in 1982, it wasn't until the addition of Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as the dark synth-pop powerhouse which would see chart success as part of the ZTT machine. Upon signing with Trevor Horn's irreverent imprint in 1983, Propaganda, now comprised of vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered their classic debut LP A Secret Wish and a slew of international hit singles, "Dr Mabuse," "Duel", and "P Machinery," leaving an indelible mark on the alternative scene and securing an enduring place within the pantheon of synth-dance greats. In an era of impermanence, Propaganda wanted to produce something real -- to be played from start to finish, with artwork and packaging which allows a deeper understanding of the theme of the release. Finding the perfect label to match their ambitions in Bureau B, Propaganda have delivered a third album well worth the wait.
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LP
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BB 468LP
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$26.00
PREORDER
RELEASE DATE: 10/11/2024
LP version. Forty years since their inception, and almost two decades since their last release, art-synth auteurs Propaganda return with a brand-new chapter in their enthralling story. This self-titled set from principal songwriting partnership Ralf Dörper and Michael Mertens embodies the depth and drama of their early work, while exploring fresh sounds and styles, and reflecting the personal and societal changes since their last outing. Conceived and crafted entirely in their native Düsseldorf, a deliberate decision to help them stay true to themselves, and featuring guest appearances from the acclaimed Hauschka and ascendant Thunder Bae, this is Propaganda at their most essential. Though an embryonic incarnation was formed by Ralf Dörper, former synthesist with electro-punks Die Krupps, and Andreas Thein in 1982, it wasn't until the addition of Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as the dark synth-pop powerhouse which would see chart success as part of the ZTT machine. Upon signing with Trevor Horn's irreverent imprint in 1983, Propaganda, now comprised of vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered their classic debut LP A Secret Wish and a slew of international hit singles, "Dr Mabuse," "Duel", and "P Machinery," leaving an indelible mark on the alternative scene and securing an enduring place within the pantheon of synth-dance greats. In an era of impermanence, Propaganda wanted to produce something real -- to be played from start to finish, with artwork and packaging which allows a deeper understanding of the theme of the release. Finding the perfect label to match their ambitions in Bureau B, Propaganda have delivered a third album well worth the wait.
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LP
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BB 466LP
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$26.00
PREORDER
RELEASE DATE: 9/20/2024
LP version. "Parisian-by-choice Detlef Weinrich aka Tolouse Low Trax turns the page again. Always willing for a new episode, notion, impulse, idea, ideal. Searching for some light out there. Now Kiosque Versions, a compilation compiled by himself, featuring seven edits by friends and treasured artists. They renew some rare TLT tunes, as well as hits, that never took the charts by storm. There is French legend and Tigersushi boss Joakim, edging the TLT winner Rushing Into Water from 2016. A guarded stepper, dancy, trippy, with an enchantress on his shoulder, that haunts your body and soul. The 2020 TLT tune "Dawn Is Temporal," taken from his album Jumping Dead Leafs, comes as an old school hip hop leaning track, re-fashioned by New York's Beat Detectives, including Amen-Break and nod-your-head vibes. Producer Ido Plumes from Bristol took "Tristeros Empire" home and worked it club-wise. A nervous beating modification, Detroit machines, motorway funk, cosmic gasps - pure driller killer. Glasgow's Dip Friso stays tense too. Echoes, tribal bounce, manic loops. Another driller in dub heaven. Like Paris based digi-dub explorers Froid Dub, who bring a great wave of warm grooves, making baroque-esk dub friends with "Make Friends," a TLT track from his legendary three-volume strong 2016 Antinote sampler compendium. Their fellow countryman Simo Cell nervously metamorphoses "A Song and a Photo Novella," a TLT soundtrack for a film by artist Nicolàs Guagnini. His version has all that bass, vibrates on an experimental subconsciousness, and aims the dancefloor with a stirring bouquet of rhythmic ideas. The dot on the I comes from TLT himself, remixing his very own music, translating the Gamelan melancholy of "Subghosts," a tune from his 2010 debut album Mask Talk, into today, refined with dubby upsetting notes, a speed lift, and a very playful TLT groove. Let's turn the page." --Michael Leuffen
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CD
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BB 466CD
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$16.50
PREORDER
RELEASE DATE: 9/20/2024
"Parisian-by-choice Detlef Weinrich aka Tolouse Low Trax turns the page again. Always willing for a new episode, notion, impulse, idea, ideal. Searching for some light out there. Now Kiosque Versions, a compilation compiled by himself, featuring seven edits by friends and treasured artists. They renew some rare TLT tunes, as well as hits, that never took the charts by storm. There is French legend and Tigersushi boss Joakim, edging the TLT winner Rushing Into Water from 2016. A guarded stepper, dancy, trippy, with an enchantress on his shoulder, that haunts your body and soul. The 2020 TLT tune "Dawn Is Temporal," taken from his album Jumping Dead Leafs, comes as an old school hip hop leaning track, re-fashioned by New York's Beat Detectives, including Amen-Break and nod-your-head vibes. Producer Ido Plumes from Bristol took "Tristeros Empire" home and worked it club-wise. A nervous beating modification, Detroit machines, motorway funk, cosmic gasps - pure driller killer. Glasgow's Dip Friso stays tense too. Echoes, tribal bounce, manic loops. Another driller in dub heaven. Like Paris based digi-dub explorers Froid Dub, who bring a great wave of warm grooves, making baroque-esk dub friends with "Make Friends," a TLT track from his legendary three-volume strong 2016 Antinote sampler compendium. Their fellow countryman Simo Cell nervously metamorphoses "A Song and a Photo Novella," a TLT soundtrack for a film by artist Nicolàs Guagnini. His version has all that bass, vibrates on an experimental subconsciousness, and aims the dancefloor with a stirring bouquet of rhythmic ideas. The dot on the I comes from TLT himself, remixing his very own music, translating the Gamelan melancholy of "Subghosts," a tune from his 2010 debut album Mask Talk, into today, refined with dubby upsetting notes, a speed lift, and a very playful TLT groove. Let's turn the page." --Michael Leuffen
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CD
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BB 454CD
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$16.50
PREORDER
RELEASE DATE: 9/13/2024
After dipping into the archive to deliver a series of essential reissues, Bureau B continue to encourage the chaotic brilliance of Faust with an LP of brand-new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther Wüsthoff. Over the years Faust 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, and the 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 Blickwinkel, Diermaier's incarnation embrace synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience and psychedelic motorik. Sonically and politically, Blickwinkel is a profoundly Faustian venture, a communal project based on democratic ideals which eschews external influences to create something entirely out on its own. As with the previous LP, Daumenbruch, the journey started with Zappi behind a drum kit at the home studio of his neighbor Dirk Dresselhaus AKA Schneider TM (bass), alongside electronics whizz Elke Drapatz (drum effects). The trio embarked on a session of instant composition, playing wordlessly with a deep empathy to each other as well as the energy in the room. While the Daumenbruch session, which took place in the midst of lockdown, delivered three long-form pieces, this two=hour spell served up six diverse tracks, an audio analogue for the speed of life post-lockdown. Drones, delays, clatter and clang came from all corners -- in fact, only Uwe Bastiansen (Stadtfisch) added melodies, lending long distance support to Dirk Dresselhaus' insistent bass sequences, and channeling the magic of their moment into potent pagan tonalities. The 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 radical and forward-facing record.
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LP
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BB 454LP
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$26.00
PREORDER
RELEASE DATE: 9/13/2024
LP version. After dipping into the archive to deliver a series of essential reissues, Bureau B continue to encourage the chaotic brilliance of Faust with an LP of brand-new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther Wüsthoff. Over the years Faust 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, and the 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 Blickwinkel, Diermaier's incarnation embrace synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience and psychedelic motorik. Sonically and politically, Blickwinkel is a profoundly Faustian venture, a communal project based on democratic ideals which eschews external influences to create something entirely out on its own. As with the previous LP, Daumenbruch, the journey started with Zappi behind a drum kit at the home studio of his neighbor Dirk Dresselhaus AKA Schneider TM (bass), alongside electronics whizz Elke Drapatz (drum effects). The trio embarked on a session of instant composition, playing wordlessly with a deep empathy to each other as well as the energy in the room. While the Daumenbruch session, which took place in the midst of lockdown, delivered three long-form pieces, this two=hour spell served up six diverse tracks, an audio analogue for the speed of life post-lockdown. Drones, delays, clatter and clang came from all corners -- in fact, only Uwe Bastiansen (Stadtfisch) added melodies, lending long distance support to Dirk Dresselhaus' insistent bass sequences, and channeling the magic of their moment into potent pagan tonalities. The 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 radical and forward-facing record.
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LP
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BB 467LP
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$26.00
PREORDER
RELEASE DATE: 9/6/2024
LP version. Heiko Maile and Julian Demarre, both pop musicians and film composers, have been collaborating since the mid-'90s album classic Meanwhile by Camouflage. While Heiko continued pursuing the perfect pop song, they both landed their first feature film score gigs. In recent years while working together on several films, they felt they should create something for themselves -- a love letter to '70s and '80s electronic music. With some esoteric 1970s keyboards from Japan designed for the sound of tomorrow they have now recorded an album for all the days after tomorrow. The result is the genre-bending album Neostalgia, a unique blend of various electronic styles and 1970s Krautrock with pieces featuring intros/outros, flutes, flanger guitars and vocoders, and tracks pushing the six-minute mark.
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CD
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BB 467CD
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$16.50
PREORDER
RELEASE DATE: 9/6/2024
Heiko Maile and Julian Demarre, both pop musicians and film composers, have been collaborating since the mid-'90s album classic Meanwhile by Camouflage. While Heiko continued pursuing the perfect pop song, they both landed their first feature film score gigs. In recent years while working together on several films, they felt they should create something for themselves -- a love letter to '70s and '80s electronic music. With some esoteric 1970s keyboards from Japan designed for the sound of tomorrow they have now recorded an album for all the days after tomorrow. The result is the genre-bending album Neostalgia, a unique blend of various electronic styles and 1970s Krautrock with pieces featuring intros/outros, flutes, flanger guitars and vocoders, and tracks pushing the six-minute mark.
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LP
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BB 457LP
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$26.00
PREORDER
RELEASE DATE: 8/9/2024
LP version. The Berlin project Sprung Aus Den Wolken was part of the "Geniale Dilletanten" movement in the early 1980s, along with Einsturzende Neubauten and Mechanik Destruktiw Komandoh. The band first released an EP on ZickZack in 1981, followed by further releases on the band's own record label Faux Pas in 1982 and 1983, then on the French outlet Les Disques Du Soleil Et De L'Acier until 1991. The track "Pas Attendre" was part of the soundtrack of Wim Wender's movie Der Himmel Uber Berlin and thus became an underground hit. Bureau B is thrilled to now re-release the debut EP under the title 1981 West Berlin, including additional songs from the band's early days, which have been carefully remastered from the original cassettes.
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LP
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BB 442LP
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$26.00
PREORDER
RELEASE DATE: 8/9/2024
LP version. After introducing listeners to the techno-tropical pop of Supersempfft via an essential reissue of their stargazing sophomore LP Metaluna, those surefooted folks at Bureau B beam back a couple of years to bring listeners the Hessen outfit's outrageous debut. The collaborative vehicle careers through the cosmos like a high-performance clown car, disguising daring chord progressions, technical innovation and a heap of hooks behind its cartoon chassis, and taking lucky listeners along for the joyride. Operating at the unlikely nexus between creative studio and sixth form common room, and fusing all the expertise of the former with commercial disinterest of the latter, Supersempfft served as the multidisciplinary moniker for a trio of childhood friends whose separate skills combined perfectly for their high-concept high jinks. The prodigious musical talent of Dieter Kolb, augmented and elevated by Franz Knüttel's electronic innovation, provided the ideal medium for Franz Aumüller's wacky world building, which made up the lyrical thrust and visual flair of the project. Roboterwerke, both the name of this 1979 LP and the revolutionary drum machine created by Knüttel, tells the story of a mellow tuba-toting frog (apparently an avatar of Kolb), who is technologically transformed by a mad scientist (a Professor Knüttels, as it happens) into a star surfing superhero. So far, so far out -- especially considering the lurid, lysergic lunacy of the comic book cover art -- but this slapstick silliness also serves as sleight of hand, a daft disguise to keep these sublime sounds away from the squares.
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CD
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BB 457CD
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$16.50
PREORDER
RELEASE DATE: 8/9/2024
The Berlin project Sprung Aus Den Wolken was part of the "Geniale Dilletanten" movement in the early 1980s, along with Einsturzende Neubauten and Mechanik Destruktiw Komandoh. The band first released an EP on ZickZack in 1981, followed by further releases on the band's own record label Faux Pas in 1982 and 1983, then on the French outlet Les Disques Du Soleil Et De L'Acier until 1991. The track "Pas Attendre" was part of the soundtrack of Wim Wender's movie Der Himmel Uber Berlin and thus became an underground hit. Bureau B is thrilled to now re-release the debut EP under the title 1981 West Berlin, including additional songs from the band's early days, which have been carefully remastered from the original cassettes.
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LP
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BB 451LP
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$26.00
PREORDER
RELEASE DATE: 8/9/2024
LP version. With Sähkömies, Jimi Tenor released his legendary solo debut in 1994 on Puu, a spin-off of the Finnish label Sähkö Recordings founded by Tommi Grönlund and Mika Vainio in 1993. Recorded in Tenor's former home in New York, the album offers a previously unheard mixture of drum machine driven, electronic sounds and Sun Ra-inspired jazz. Written, recorded and produced entirely by Tenor in his apartment, the pieces have lost none of their spontaneous, roughcast charm to this day. The record combines lo-fi electronics with Jimi Tenor's typical smoky saxophone playing, offering a fascinating listening experience that documents an artist who is full of curiosity and the joy of experimentation. For the 30th anniversary of Sähkömies, Bureau B is thrilled to make this special album available again.
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CD
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BB 442CD
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$16.50
PREORDER
RELEASE DATE: 8/9/2024
After introducing listeners to the techno-tropical pop of Supersempfft via an essential reissue of their stargazing sophomore LP Metaluna, those surefooted folks at Bureau B beam back a couple of years to bring listeners the Hessen outfit's outrageous debut. The collaborative vehicle careers through the cosmos like a high-performance clown car, disguising daring chord progressions, technical innovation and a heap of hooks behind its cartoon chassis, and taking lucky listeners along for the joyride. Operating at the unlikely nexus between creative studio and sixth form common room, and fusing all the expertise of the former with commercial disinterest of the latter, Supersempfft served as the multidisciplinary moniker for a trio of childhood friends whose separate skills combined perfectly for their high-concept high jinks. The prodigious musical talent of Dieter Kolb, augmented and elevated by Franz Knüttel's electronic innovation, provided the ideal medium for Franz Aumüller's wacky world building, which made up the lyrical thrust and visual flair of the project. Roboterwerke, both the name of this 1979 LP and the revolutionary drum machine created by Knüttel, tells the story of a mellow tuba-toting frog (apparently an avatar of Kolb), who is technologically transformed by a mad scientist (a Professor Knüttels, as it happens) into a star surfing superhero. So far, so far out -- especially considering the lurid, lysergic lunacy of the comic book cover art -- but this slapstick silliness also serves as sleight of hand, a daft disguise to keep these sublime sounds away from the squares.
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CD
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BB 451CD
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$16.50
PREORDER
RELEASE DATE: 8/9/2024
With Sähkömies, Jimi Tenor released his legendary solo debut in 1994 on Puu, a spin-off of the Finnish label Sähkö Recordings founded by Tommi Grönlund and Mika Vainio in 1993. Recorded in Tenor's former home in New York, the album offers a previously unheard mixture of drum machine driven, electronic sounds and Sun Ra-inspired jazz. Written, recorded and produced entirely by Tenor in his apartment, the pieces have lost none of their spontaneous, roughcast charm to this day. The record combines lo-fi electronics with Jimi Tenor's typical smoky saxophone playing, offering a fascinating listening experience that documents an artist who is full of curiosity and the joy of experimentation. For the 30th anniversary of Sähkömies, Bureau B is thrilled to make this special album available again.
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LP
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BB 103LTD-LP
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$28.00
PREORDER
RELEASE DATE: 8/2/2024
On the red album, Conrad Schnitzler laid down the direction his musical artistry would take. The blue album (Blau) offered confirmation of his intent. Maybe the Rot and Blau tracks were recorded in the same session. The structure, sound, and timbre of both LPs are so similar as to suggest that this was the case. Far more important than this historical pedantry is the fact that Schnitzler included two brand new compositions on Blau which followed on seamlessly from the previous album. Quite simply, he had found his way, a course from which he would not stray as long as he lived. The so-called Berlin School (Berliner Schule) -- with Conrad Schnitzler one of their number -- had developed its own style of minimalist music. Clearly distinct from Anglo-American pop music, and no less removed from the minimalist art music of Steve Reich or Philip Glass, the focus here was on electronics and elementary rhythmics. The Berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. With the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. Blau is an archetypal example of this very phenomenon. Courage, the pioneering spirit and artistic brilliance can be detected in each part of the album's two infinite sequences. Inspired by Joseph Beuys, Schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. Questions of harmony, melody and strict form were well and truly rejected by Schnitzler. His aural crystals shine like pearls on a string. Schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are signposts to spatial and temporal infinity. Schnitzler's style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times. Already a figure of prominence, perhaps he will one day be elevated to the status of a legend. Limited anniversary edition: embossed, reverse board, hand numbered, limited edition blue vinyl, 500 copies available.
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CD
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BB 465CD
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$16.50
PREORDER
RELEASE DATE: 6/28/2024
After Die Drift, Kenne Keine Tone is the second studio album by the Vienna-based artist Conny Frischauf. Moving between pop and experiment, she embarks on a search for the momentary, the transitions and sonorous threshold spaces, creating a fascinating sound laboratory with Kenne Keine Tone that invites listeners to readjust their listening habits. Things are not what they seem to be. It is in this spirit that the artist guides us into her synaesthetic sound laboratory in which she acousmatically examines worldly phenomena as sonic events and combines them with delicate pop references. Stones, wind, water and other phenomena thus turn into audible miracles. In the sixteen tracks of her latest album, Frischauf is playing with our senses. Field recordings, carefully microphoned percussion instruments, aerophones, clapping hands and cosey synth sounds become finely balanced antagonists on this album, digging deep into auditory canals. The album is less about clear linear temporal sequences than about the spatial assembly of various possible meanings. Frischauf consciously awards this kind of independence to the sounds and ideas on the album. It is the reduction that makes a certain understatement reverberate on Kenne Keine Tone, and yet this restraint merely conceals Frischauf's passion for sound. Facing such a multitude of ideas, it's striking that the album remains as personal, casual and melodic as it does. A distinct groove emerges and occasionally invites listeners to dance.
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LP
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BB 465LP
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$26.00
PREORDER
RELEASE DATE: 6/28/2024
LP version. After Die Drift, Kenne Keine Tone is the second studio album by the Vienna-based artist Conny Frischauf. Moving between pop and experiment, she embarks on a search for the momentary, the transitions and sonorous threshold spaces, creating a fascinating sound laboratory with Kenne Keine Tone that invites listeners to readjust their listening habits. Things are not what they seem to be. It is in this spirit that the artist guides us into her synaesthetic sound laboratory in which she acousmatically examines worldly phenomena as sonic events and combines them with delicate pop references. Stones, wind, water and other phenomena thus turn into audible miracles. In the sixteen tracks of her latest album, Frischauf is playing with our senses. Field recordings, carefully microphoned percussion instruments, aerophones, clapping hands and cosey synth sounds become finely balanced antagonists on this album, digging deep into auditory canals. The album is less about clear linear temporal sequences than about the spatial assembly of various possible meanings. Frischauf consciously awards this kind of independence to the sounds and ideas on the album. It is the reduction that makes a certain understatement reverberate on Kenne Keine Tone, and yet this restraint merely conceals Frischauf's passion for sound. Facing such a multitude of ideas, it's striking that the album remains as personal, casual and melodic as it does. A distinct groove emerges and occasionally invites listeners to dance.
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LP
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BB 445LP
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$26.00
PREORDER
RELEASE DATE: 6/21/2024
LP version. Dumbo Tracks returns with a second album Move With Intention -- the anticipated follow up to 2022's eponymous debut. Philipp Janzen and collaborators deliver a varied collection of nine zoned-out grooves direct from Dumbo Studio in Cologne, with vocal contributions from Portable, Ada, Marker Starling, Rubee Fegan, and nothhingspecial. Looking back to his musical upbringing, Philipp Janzen switched up the recording process from the first record to incorporate more of a live band element. The result is a more eclectic sound which allowed more freedom to experiment, while keeping the collaborative spirit that is a vital Dumbo Tracks trademark. The genesis of the record began in Italy, where Philipp and co-producer Julian Stetter traveled to jam out ideas on modular synths over the course of a few days. These ideas served as the basis for more instrumental tracks back at Dumbo Studio, where Philipp invited friends to develop the tracks further within a live dynamic. For the final phase of the record, Philipp enlisted the artistry of five vocalists: spoken word frontwoman Rubee Fegan, Canadian singer songwriter Marker Starling, house romantic Portable, Bonn-based haunted pop artist nothhingspecial and Hamburg's techno visionary Ada. The title track sees Philipp and crew slow the tempo down to a molasses dreamscape, a beatdown groove that's joined by Paris-residing artist Portable. It all makes for a gloriously eclectic album, an anarchic pop record that follows its own rules. Move With Intention is both electronic yet alive, motorik and pastoral, filled with dancefloor grooves and a krautrock swagger. In this sense the intention is clear: to respectfully rip up the rule book and keep moving forward.
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BB 445CD
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Dumbo Tracks returns with a second album Move With Intention -- the anticipated follow up to 2022's eponymous debut. Philipp Janzen and collaborators deliver a varied collection of nine zoned-out grooves direct from Dumbo Studio in Cologne, with vocal contributions from Portable, Ada, Marker Starling, Rubee Fegan, and nothhingspecial. Looking back to his musical upbringing, Philipp Janzen switched up the recording process from the first record to incorporate more of a live band element. The result is a more eclectic sound which allowed more freedom to experiment, while keeping the collaborative spirit that is a vital Dumbo Tracks trademark. The genesis of the record began in Italy, where Philipp and co-producer Julian Stetter traveled to jam out ideas on modular synths over the course of a few days. These ideas served as the basis for more instrumental tracks back at Dumbo Studio, where Philipp invited friends to develop the tracks further within a live dynamic. For the final phase of the record, Philipp enlisted the artistry of five vocalists: spoken word frontwoman Rubee Fegan, Canadian singer songwriter Marker Starling, house romantic Portable, Bonn-based haunted pop artist nothhingspecial and Hamburg's techno visionary Ada. The title track sees Philipp and crew slow the tempo down to a molasses dreamscape, a beatdown groove that's joined by Paris-residing artist Portable. It all makes for a gloriously eclectic album, an anarchic pop record that follows its own rules. Move With Intention is both electronic yet alive, motorik and pastoral, filled with dancefloor grooves and a krautrock swagger. In this sense the intention is clear: to respectfully rip up the rule book and keep moving forward.
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BB 448CD
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Founded in the southern German city of Bietigheim-Bissingen by Heiko Maile, Oliver Kreyssig, and Marcus Meyn in the year 1984, the band Camouflage scored an unexpected international hit with their debut album Voices & Images in 1988. Their sophomore album Methods Of Silence, released just a year later, was an even bigger success. Songs like "The Great Commandment" and "Love Is A Shield," went on to become perennial classics of the synth pop genre. Heiko Maile and Marcus Meyn recorded their fourth album Bodega Bohemia in the synthsound studio of Belgian producer and electro-pop pioneer Dan Lacksman. It was released on 26 April 1993. To mark the 30th anniversary of the album, the band opened up the archives to assemble a special bonus edition including a wealth of rare and unreleased recordings.
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BB 452CD
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The 1960s weren't just about The Beatles, the Rolling Stones and hippies; they also ushered in new forms of art: happenings, Fluxus, Neo-Dada, video art, to name just a few. As borders blurred, pop influenced art and art influenced pop. Many protagonists of the time chose to ignore borders altogether. This chaotic, euphoric atmosphere of extreme innovation lasted well into the 1970s and continues to resonate today. All manner of trailblazers shaped the soundscape of the era. Conrad Schnitzler (born 1937) and Karl Horst Hödicke (born 1938) -- longstanding members of the official artistic canon -- were multifunctional artists who painted, performed, sculptured, made films and music. They were always to be found on the edge of the "permissible" and invariably went beyond "modern" perceptions of art. Schnitzler, Hödicke and many of their contemporaries arrived at a completely new definition of the avant-garde. The circumstances of Schnitzler and Hödicke's first meeting are unknown, but it should come as no surprise that it was Schnitzler who composed the soundtrack for Hödicke's film entitled Slow Motion in 1976. The two artists were cut from the same cloth, routinely crossing any boundaries they happened to encounter. Schnitzler wrote music for each of the film's 14 sequences, linking them together in a logical progression of minimalist imagery. Each piece of music quite brilliantly accentuated the preceding one. Schnitzler's musical sensibility was wholly compatible with Hödicke's approach to film. Not that Schnitzler was ever a film composer. Slow Motion worked because Schnitzler and Hödicke were on the same wavelength, daring to experiment with sound and vision in such a way that auditory and visual components were interdependent. Nevertheless, it still makes sense to release the soundtrack without the images. Schnitzler undoubtedly responded to the pictures as he composed, but his customarily uncompromising style is very much in evidence: rhythmically structured electronic cascades, intermittent impulse chains and manual improvisations alternate with planar clouds of sound. Analogue sequencers and an analogue rhythm machine played a crucial role. The tracks on Slow Motion vary in length and mood, but the listener never has to leave Schnitzler's sonic universe, even without the pictures for which the music was composed. Slow Motion is an important document in Schnitzler's oeuvre, seamlessly taking its place alongside his many other releases, whilst also highlighting his constructive input as an equal partner in an experimental film production.
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BB 452LP
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LP version. The 1960s weren't just about The Beatles, the Rolling Stones and hippies; they also ushered in new forms of art: happenings, Fluxus, Neo-Dada, video art, to name just a few. As borders blurred, pop influenced art and art influenced pop. Many protagonists of the time chose to ignore borders altogether. This chaotic, euphoric atmosphere of extreme innovation lasted well into the 1970s and continues to resonate today. All manner of trailblazers shaped the soundscape of the era. Conrad Schnitzler (born 1937) and Karl Horst Hödicke (born 1938) -- longstanding members of the official artistic canon -- were multifunctional artists who painted, performed, sculptured, made films and music. They were always to be found on the edge of the "permissible" and invariably went beyond "modern" perceptions of art. Schnitzler, Hödicke and many of their contemporaries arrived at a completely new definition of the avant-garde. The circumstances of Schnitzler and Hödicke's first meeting are unknown, but it should come as no surprise that it was Schnitzler who composed the soundtrack for Hödicke's film entitled Slow Motion in 1976. The two artists were cut from the same cloth, routinely crossing any boundaries they happened to encounter. Schnitzler wrote music for each of the film's 14 sequences, linking them together in a logical progression of minimalist imagery. Each piece of music quite brilliantly accentuated the preceding one. Schnitzler's musical sensibility was wholly compatible with Hödicke's approach to film. Not that Schnitzler was ever a film composer. Slow Motion worked because Schnitzler and Hödicke were on the same wavelength, daring to experiment with sound and vision in such a way that auditory and visual components were interdependent. Nevertheless, it still makes sense to release the soundtrack without the images. Schnitzler undoubtedly responded to the pictures as he composed, but his customarily uncompromising style is very much in evidence: rhythmically structured electronic cascades, intermittent impulse chains and manual improvisations alternate with planar clouds of sound. Analogue sequencers and an analogue rhythm machine played a crucial role. The tracks on Slow Motion vary in length and mood, but the listener never has to leave Schnitzler's sonic universe, even without the pictures for which the music was composed. Slow Motion is an important document in Schnitzler's oeuvre, seamlessly taking its place alongside his many other releases, whilst also highlighting his constructive input as an equal partner in an experimental film production.
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CD
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BB 450CD
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Faust is a group of artists who shared intense musical experiences in the years 1971 to 1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wumme which had been set up just for them. Two compact album productions followed, recorded at the Manor (March 1973) and Musicland Studios (May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of un-released snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as 71 Minutes and BBC Sessions+. When reviewing this material for this compilation, some titles have been changed, e.g. "Ma Trompette (Alternative Version)" has been released as "Party 10" previously, "Zwolf Meter unter der Oberflache" has been "(360)" and "Geister, die wir riefen" was "The Lurcher."
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