BUREAU B - Forced Exposure

$16.50 PREORDER RELEASE DATE: 7/18/2025

Thumbing through the back pages of German electronic music, Bureau B uncovers another hidden gem from the Sky Records archive: Inventions, the 1983 collaboration between Adelbert von Deyen and Dieter Schütz. Fusing expansive kosmische textures with biting rock guitars, motorik rhythms, and the growl of '80s synth-pop, the duo conjures a sonic singularity which still sounds like the future today. Compact yet cosmic, Inventions distils ambient drift and experimental edge into taut, three-minute pop miniatures, with the occasional longer track extending the energy without losing any of the impact. Adelbert von Deyen, a painter, graphic artist and composer, was born in 1953 in northern Germany. Inspired by Pink Floyd and the Berlin School, he began creating electronic music in the late '70s, ultimately releasing a string of solo albums on Sky Records. Dieter Schütz, born in nearby Flensburg in 1955, was a multi-instrumentalist equally at home with pastoral acoustic tones and kosmische synthesis. After stints in local rock bands and electronic experimentation in his home studio, Schütz debuted in 1981 with TransVision, followed by solo albums that further explored his unique blend of organic and synthetic elements. Their musical paths converged on the track "Earth" from von Deyen's 1982 LP Planetary, a hypnotic collision of space-bound electronics and driving rhythm. The chemistry was instant and by the following year the pair had completed a full album as a duo, Inventions, marking Schütz's first appearance on the Sky roster. With Inventions, von Deyen and Schütz found a rare middle ground between introspective electronics and wide-eyed pop, creating something strange, beautiful and beguiling which inhabits a space all of its own. Reissued here for the first time in decades, it's a thrilling rediscovery from the adventurous outer edges of early '80s German music.

$26.00 PREORDER RELEASE DATE: 7/18/2025

LP version. Thumbing through the back pages of German electronic music, Bureau B uncovers another hidden gem from the Sky Records archive: Inventions, the 1983 collaboration between Adelbert von Deyen and Dieter Schütz. Fusing expansive kosmische textures with biting rock guitars, motorik rhythms, and the growl of '80s synth-pop, the duo conjures a sonic singularity which still sounds like the future today. Compact yet cosmic, Inventions distils ambient drift and experimental edge into taut, three-minute pop miniatures, with the occasional longer track extending the energy without losing any of the impact. Adelbert von Deyen, a painter, graphic artist and composer, was born in 1953 in northern Germany. Inspired by Pink Floyd and the Berlin School, he began creating electronic music in the late '70s, ultimately releasing a string of solo albums on Sky Records. Dieter Schütz, born in nearby Flensburg in 1955, was a multi-instrumentalist equally at home with pastoral acoustic tones and kosmische synthesis. After stints in local rock bands and electronic experimentation in his home studio, Schütz debuted in 1981 with TransVision, followed by solo albums that further explored his unique blend of organic and synthetic elements. Their musical paths converged on the track "Earth" from von Deyen's 1982 LP Planetary, a hypnotic collision of space-bound electronics and driving rhythm. The chemistry was instant and by the following year the pair had completed a full album as a duo, Inventions, marking Schütz's first appearance on the Sky roster. With Inventions, von Deyen and Schütz found a rare middle ground between introspective electronics and wide-eyed pop, creating something strange, beautiful and beguiling which inhabits a space all of its own. Reissued here for the first time in decades, it's a thrilling rediscovery from the adventurous outer edges of early '80s German music.

$26.00 PREORDER RELEASE DATE: 7/18/2025

LP version. Bureau B once again dive into the Sky archive, unearthing another overlooked masterpiece long due for rediscovery. Originally released in 1985, Voyage finds Dieter Schütz venturing beyond his Berlin School roots into a realm of lo-fi immediacy and New Age naivety. Every instrument is played by Schütz himself, except for the drums on 'Above,' which are performed with syncopated zeal by Michael Fecker. While its textured synthscapes and wistful melodies may echo the aesthetics of 2010s Vaporwave, Voyage captured a longing for another world, not through borrowed nostalgia, but through a contemporary vision of escape. Here, Schütz's music is lush yet unpretentious, full of warmth, curiosity, and the gentle imperfections of handmade sound, his combination of organic and synthetic instruments marrying to summon faraway landscapes -- Amazonian forests, sunlit coasts, and cosmic night skies.

"Born in Flensburg in 1955, Schütz was a natural multi-instrumentalist, beginning with accordion, recorder, and acoustic guitar before moving into rock and contemporary pop. He played lead guitar in regional bands before co-founding Zest, all the while composing electronic music in his home studio. By 1981, his debut album TransVision had found a home on the pioneering Innovative Communication label, paving the way for a series of solo works on Sky Records?. The title track, 'Voyage,' perfectly encapsulates the album's essence, its drum-box bossa rhythm supporting warm, rhythmic synths and a wistful melody that balances the thrill of adventure with the quiet ache of homesickness?. Even decades later, Voyage still resonates as a unique sonic expedition, both deeply personal yet universally evocative. Schütz's gentle yet adventurous spirit permeates the album, making it a perfect soundtrack for those drawn to the horizon -- whether real, remembered, or dreamt." --Patrick Ryder

$16.50 PREORDER RELEASE DATE: 7/18/2025

Bureau B once again dive into the Sky archive, unearthing another overlooked masterpiece long due for rediscovery. Originally released in 1985, Voyage finds Dieter Schütz venturing beyond his Berlin School roots into a realm of lo-fi immediacy and New Age naivety. Every instrument is played by Schütz himself, except for the drums on 'Above,' which are performed with syncopated zeal by Michael Fecker. While its textured synthscapes and wistful melodies may echo the aesthetics of 2010s Vaporwave, Voyage captured a longing for another world, not through borrowed nostalgia, but through a contemporary vision of escape. Here, Schütz's music is lush yet unpretentious, full of warmth, curiosity, and the gentle imperfections of handmade sound, his combination of organic and synthetic instruments marrying to summon faraway landscapes -- Amazonian forests, sunlit coasts, and cosmic night skies.

"Born in Flensburg in 1955, Schütz was a natural multi-instrumentalist, beginning with accordion, recorder, and acoustic guitar before moving into rock and contemporary pop. He played lead guitar in regional bands before co-founding Zest, all the while composing electronic music in his home studio. By 1981, his debut album TransVision had found a home on the pioneering Innovative Communication label, paving the way for a series of solo works on Sky Records?. The title track, 'Voyage,' perfectly encapsulates the album's essence, its drum-box bossa rhythm supporting warm, rhythmic synths and a wistful melody that balances the thrill of adventure with the quiet ache of homesickness?. Even decades later, Voyage still resonates as a unique sonic expedition, both deeply personal yet universally evocative. Schütz's gentle yet adventurous spirit permeates the album, making it a perfect soundtrack for those drawn to the horizon -- whether real, remembered, or dreamt." --Patrick Ryder

$26.00 PREORDER RELEASE DATE: 7/11/2025

LP version. Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded ten regular studio albums between 1971 and 2009. Their debut album (Cluster 71) was in Wire Magazine's "One Hundred Records That Set The World On Fire" list. Cluster II is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.

"The question as to whether Cluster II has to be considered part of serious music or rather of popular music seems as obsolete today as it was back in 1972. Interestingly enough, however, the album was among the first ones to leave people in confusion when trying to tell what musical category it belonged to. As opposed to now where there is a large transitional area situated somewhere in between the two poles and made up by all sorts of electro-acoustic music, serious and popular music were still categories strictly set apart at the beginning of the seventies. Moebius and Roedelius, however, simply did not care about categorizing their music, thus contributing to the trend towards abandoning the categories altogether. When listening to Cluster II today, fifty years after it was recorded, the album's historic significance becomes as clear as never before. A lot has already been written about Cluster's historic impact. Let me just underline in this context that it was not least this album that opened up doors through which generations of electro-acoustic musicians were yet to step." --Asmus Tietchens

$16.50 PREORDER RELEASE DATE: 7/11/2025

Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded ten regular studio albums between 1971 and 2009. Their debut album (Cluster 71) was in Wire Magazine's "One Hundred Records That Set The World On Fire" list. Cluster II is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.

"The question as to whether Cluster II has to be considered part of serious music or rather of popular music seems as obsolete today as it was back in 1972. Interestingly enough, however, the album was among the first ones to leave people in confusion when trying to tell what musical category it belonged to. As opposed to now where there is a large transitional area situated somewhere in between the two poles and made up by all sorts of electro-acoustic music, serious and popular music were still categories strictly set apart at the beginning of the seventies. Moebius and Roedelius, however, simply did not care about categorizing their music, thus contributing to the trend towards abandoning the categories altogether. When listening to Cluster II today, fifty years after it was recorded, the album's historic significance becomes as clear as never before. A lot has already been written about Cluster's historic impact. Let me just underline in this context that it was not least this album that opened up doors through which generations of electro-acoustic musicians were yet to step." --Asmus Tietchens

$26.00 PREORDER RELEASE DATE: 6/20/2025

LP version. After more than 40 years, Silberstreif's EP Ich suche dein Gesicht, first released on Sky Records in 1983, is available again. Rather unusual for Sky's catalogue, the duo played flawless synth-pop with German-language lyrics. This EP sank into obscurity in the 1980s flood of hyper-commercial German New Wave releases. The band later became an insider tip and the EP a sought-after collector's item. The re-issue is accompanied by four previously unreleased bonus tracks.

"Overdue, a re-issue of this great, rare EP from 1983. While that year, the major labels were finally exploiting everything commercially that even rudimentarily fitted the NDW (Neue Deutsche Welle -- German New Wave) buzzword, we can now look back and realize that there were still countless creative bands, projects and artists in the musical underground. The release by Silberstreif shows like no other that the focus of the German 1980s underground was not only on odd and experimental sounds, but also on poppy and melodic ones. Listening to these hopeful, almost innocent synth melodies paired with dark lyrics circling around obsessive male protagonists, one can't help but imagine how this band re-asserted its artistic freedom by leaning into the musical tropes of sell-out and commercialization -- with a subtle subversive middle finger. The duo play fantastic and timeless synth-pop which is still relevant today and still gets crowds dancing in trendy clubs between songs by Human League and Grauzone. Like I said, this re-issue is long overdue!" --Marco Floess

$16.50 PREORDER RELEASE DATE: 6/20/2025

After more than 40 years, Silberstreif's EP Ich suche dein Gesicht, first released on Sky Records in 1983, is available again. Rather unusual for Sky's catalogue, the duo played flawless synth-pop with German-language lyrics. This EP sank into obscurity in the 1980s flood of hyper-commercial German New Wave releases. The band later became an insider tip and the EP a sought-after collector's item. The re-issue is accompanied by four previously unreleased bonus tracks.

"Overdue, a re-issue of this great, rare EP from 1983. While that year, the major labels were finally exploiting everything commercially that even rudimentarily fitted the NDW (Neue Deutsche Welle -- German New Wave) buzzword, we can now look back and realize that there were still countless creative bands, projects and artists in the musical underground. The release by Silberstreif shows like no other that the focus of the German 1980s underground was not only on odd and experimental sounds, but also on poppy and melodic ones. Listening to these hopeful, almost innocent synth melodies paired with dark lyrics circling around obsessive male protagonists, one can't help but imagine how this band re-asserted its artistic freedom by leaning into the musical tropes of sell-out and commercialization -- with a subtle subversive middle finger. The duo play fantastic and timeless synth-pop which is still relevant today and still gets crowds dancing in trendy clubs between songs by Human League and Grauzone. Like I said, this re-issue is long overdue!" --Marco Floess

$16.50 PREORDER RELEASE DATE: 5/30/2025

Genre-resistant Berlin duo Neuzeitliche Bodenbeläge return to Bureau B with Neue Kreise, a sharp sophomore LP that shakes a cocktail of musical influences into an irresistible blend of smooth, synthetic pop. If their 2020 debut Der Große Preis saw the N(ewer)DW angst of their early releases give way to bubbling boogie and kosmische funk, this 11-track outing dives headfirst into the deep blues and sunset hues of yacht rock and groove-laden jazz fusion, all while retaining their signature lyrical bite. Finding its final form in nocturnal sessions in fall and winter 2024 -- with off-seasons spent, as always, experimenting in a secluded hotel at Lake Constance -- Neue Kreise ("New Circles") sees Niklas Wandt and Joshua Gottmanns tracing fault lines from childhood torment to contemporary crisis, ultimately offering a cautious hope for healing. Themes of male bonding and bullying, suburban claustrophobia, and family tension manifest in tracks like "Bittere Gifte" and "Jahr Um Jahr," as the duo exorcise their demons over infectious electro-funk and space-age samba respectively. Sonically, this diverse disc showcases a broad spectrum of musical influences, drawing from the obscure German/Austrian records curated by their ever-present producer Ali Europa, alongside John Martyn's late '70s/early '80s era, the skyscraping synth-pop of New Musik, and the tropical jazz of Azymuth. Wandt and Gottmanns wear their influences proudly while retaining all the invention and irreverence which has been a mainstay of their work, packing their personality into every track. The tension peaks in "Bittere Gifte," where stomping '80s machine-funk and psychedelic fusion breakdowns soundtrack a lyrical descent into suburban despair. Elsewhere, "Korsett Der Form" sparks infectious synth-pop joy, while "Nachlass Zu Lebzeiten" harnesses pure jazz-fusion power, complete with shuffling percussion and soaring guitar solos. "Blei" sweeps in with MTV-era widescreen pop, all windblown new-wave grandeur, while "Kalte Asche Und Orchideen" rides a fizzing punk-funk groove. The dreamlike "Puma" sways in a lullaby-like waltz, its jazzy cymbals and hypnotic bass drifting effortlessly, before cinematic closer "Landung" brings listeners back to earth. Fretless bass, chime-like synths, and tropical-tinged drum machines find a magical middle ground between Jamaican John Martyn and an impossibly happy version of The Cure. Across its 11 tracks, Neue Kreise expands and refines Neuzeitliche Bodenbeläge's sound, propelling them into new circles, new spheres, and new sonic territory.

$26.00 PREORDER RELEASE DATE: 5/30/2025

LP version. Genre-resistant Berlin duo Neuzeitliche Bodenbeläge return to Bureau B with Neue Kreise, a sharp sophomore LP that shakes a cocktail of musical influences into an irresistible blend of smooth, synthetic pop. If their 2020 debut Der Große Preis saw the N(ewer)DW angst of their early releases give way to bubbling boogie and kosmische funk, this 11-track outing dives headfirst into the deep blues and sunset hues of yacht rock and groove-laden jazz fusion, all while retaining their signature lyrical bite. Finding its final form in nocturnal sessions in fall and winter 2024 -- with off-seasons spent, as always, experimenting in a secluded hotel at Lake Constance -- Neue Kreise ("New Circles") sees Niklas Wandt and Joshua Gottmanns tracing fault lines from childhood torment to contemporary crisis, ultimately offering a cautious hope for healing. Themes of male bonding and bullying, suburban claustrophobia, and family tension manifest in tracks like "Bittere Gifte" and "Jahr Um Jahr," as the duo exorcise their demons over infectious electro-funk and space-age samba respectively. Sonically, this diverse disc showcases a broad spectrum of musical influences, drawing from the obscure German/Austrian records curated by their ever-present producer Ali Europa, alongside John Martyn's late '70s/early '80s era, the skyscraping synth-pop of New Musik, and the tropical jazz of Azymuth. Wandt and Gottmanns wear their influences proudly while retaining all the invention and irreverence which has been a mainstay of their work, packing their personality into every track. The tension peaks in "Bittere Gifte," where stomping '80s machine-funk and psychedelic fusion breakdowns soundtrack a lyrical descent into suburban despair. Elsewhere, "Korsett Der Form" sparks infectious synth-pop joy, while "Nachlass Zu Lebzeiten" harnesses pure jazz-fusion power, complete with shuffling percussion and soaring guitar solos. "Blei" sweeps in with MTV-era widescreen pop, all windblown new-wave grandeur, while "Kalte Asche Und Orchideen" rides a fizzing punk-funk groove. The dreamlike "Puma" sways in a lullaby-like waltz, its jazzy cymbals and hypnotic bass drifting effortlessly, before cinematic closer "Landung" brings listeners back to earth. Fretless bass, chime-like synths, and tropical-tinged drum machines find a magical middle ground between Jamaican John Martyn and an impossibly happy version of The Cure. Across its 11 tracks, Neue Kreise expands and refines Neuzeitliche Bodenbeläge's sound, propelling them into new circles, new spheres, and new sonic territory.

$26.00 PREORDER RELEASE DATE: 5/16/2025

LP version. Hamburg's kosmische custodians at Bureau B welcome legendary synth maestro Peter Baumann back into the studio for his first solo album since Machines Of Desire (BB 234CD, 2016). A defining force in the Berlin School of electronic music, both as a member of Tangerine Dream in their most essential era, and as a solo artist, Baumann has always bridged the cerebral and the cinematic. With Nightfall, he embarks on another sonic odyssey, crafting an atmospheric album steeped in mystery and evocative storytelling. "Baumann's artistic vision has long been shaped by his exploration of the human condition. From his pioneering work with Tangerine Dream to his influential New Age imprint, Private Music, and his philosophical pursuits through the Baumann Foundation, his creativity and curiosity remain undiminished. Nightfall is the latest chapter in his five-decade journey -- an deeply emotional album that embraces impermanence to transport the listener into a series of shapeshifting soundscapes? The misty melancholia of opener 'No One Knows' pairs hypnotic woodblock rhythms with desert guitars, while 'Lost In A Pale Blue Sky' floats through celestial choirs and rolling timpani, evoking dreamlike introspection. Elsewhere, 'On The Long Road' pulses with insect-like percussion and serrated synth tones, exuding a ritualistic energy. Tracks like 'A World Apart' and 'From A Far Land' build tension through cascading melodies and rhythmic precision, evoking distant horizons and uncharted territories. 'Sailing Past Midnight' melds bass mallets with feedback-laden synths, conjuring a sense of movement and urgency, while 'I'm Sitting Here, Just For A While' layers snaking saxophones and hand percussion into a mystical, arcane soundscape. The album closes with the title track, 'Nightfall,' a deeply atmospheric piece wrapped in choral textures and shadowy undertones? From the very beginnings of his career, Peter Baumann has infused his work with a sense of the beyond and Nightfall is no exception. Each track invites the listener to interpret, to feel, and to immerse themselves in its crepuscular beauty? With Nightfall, the composer has created a shimmering doorway, just waiting for you to step through." --Patrick Ryder

$16.50$14.03 IN STOCK

With his first full-length album Ruinenkampf, released via Hamburg based label Bureau B, Das Kinn embarks on a musical tour de force through the ruins of time. An electronic armada and kickbox phonetics lead listeners through haunting soundscapes somewhere between DAF, Kosmische Kuriere, and Frankfurt Bahnhofsviertel. Beats on full blast. Bones rattle. Warm synthlines played by cold hands. A saxophone ponders the after. Hymns for the demolition. Sonic meditations on decay. Music for the solemn decline.

"Toben Piel likes to visit cemeteries. In those places of peace and idyll he finds the distance to contemplate transience and consider the hereafter as a concrete location. His debut album Ruinenkampf comes from the same mindset -- distancing himself just enough to get straight to the point with a running start. It certainly doesn't sound anything like peace and idyll. It has more to do with the cassette scene, the 1980s, with staccato vocals, and synths somewhere between DAF and Kosmische Kuriere. Underground aesthetics. Torrents of melody, sophistication, constantly oscillating between anthem and demolition. And the crass power of that voice! These are eight pieces of intensive listening, always right on the mark. So how does it work? How can anybody create something like that? Well, this man in his forties from Frankfurt, still young at heart and ever hungry, has substantial experience: first with Antitainment (2005-2010), then together with the magnificent Charlotte Simon in Les Trucs, through his cassette label MMODEMM, and also as a musician on various theatre stages. Yet with Das Kinn he feels that he has now finally created music with a true sense of self-liberation." --Hendrik Otremba

$16.50$14.03 IN STOCK

Hamburg's kosmische custodians at Bureau B welcome legendary synth maestro Peter Baumann back into the studio for his first solo album since Machines Of Desire (BB 234CD, 2016). A defining force in the Berlin School of electronic music, both as a member of Tangerine Dream in their most essential era, and as a solo artist, Baumann has always bridged the cerebral and the cinematic. With Nightfall, he embarks on another sonic odyssey, crafting an atmospheric album steeped in mystery and evocative storytelling. "Baumann's artistic vision has long been shaped by his exploration of the human condition. From his pioneering work with Tangerine Dream to his influential New Age imprint, Private Music, and his philosophical pursuits through the Baumann Foundation, his creativity and curiosity remain undiminished. Nightfall is the latest chapter in his five-decade journey -- an deeply emotional album that embraces impermanence to transport the listener into a series of shapeshifting soundscapes? The misty melancholia of opener 'No One Knows' pairs hypnotic woodblock rhythms with desert guitars, while 'Lost In A Pale Blue Sky' floats through celestial choirs and rolling timpani, evoking dreamlike introspection. Elsewhere, 'On The Long Road' pulses with insect-like percussion and serrated synth tones, exuding a ritualistic energy. Tracks like 'A World Apart' and 'From A Far Land' build tension through cascading melodies and rhythmic precision, evoking distant horizons and uncharted territories. 'Sailing Past Midnight' melds bass mallets with feedback-laden synths, conjuring a sense of movement and urgency, while 'I'm Sitting Here, Just For A While' layers snaking saxophones and hand percussion into a mystical, arcane soundscape. The album closes with the title track, 'Nightfall,' a deeply atmospheric piece wrapped in choral textures and shadowy undertones? From the very beginnings of his career, Peter Baumann has infused his work with a sense of the beyond and Nightfall is no exception. Each track invites the listener to interpret, to feel, and to immerse themselves in its crepuscular beauty? With Nightfall, the composer has created a shimmering doorway, just waiting for you to step through." --Patrick Ryder

$26.00 PREORDER RELEASE DATE: 5/2/2025

LP version. With his first full-length album Ruinenkampf, released via Hamburg based label Bureau B, Das Kinn embarks on a musical tour de force through the ruins of time. An electronic armada and kickbox phonetics lead listeners through haunting soundscapes somewhere between DAF, Kosmische Kuriere, and Frankfurt Bahnhofsviertel. Beats on full blast. Bones rattle. Warm synthlines played by cold hands. A saxophone ponders the after. Hymns for the demolition. Sonic meditations on decay. Music for the solemn decline.

"Toben Piel likes to visit cemeteries. In those places of peace and idyll he finds the distance to contemplate transience and consider the hereafter as a concrete location. His debut album Ruinenkampf comes from the same mindset -- distancing himself just enough to get straight to the point with a running start. It certainly doesn't sound anything like peace and idyll. It has more to do with the cassette scene, the 1980s, with staccato vocals, and synths somewhere between DAF and Kosmische Kuriere. Underground aesthetics. Torrents of melody, sophistication, constantly oscillating between anthem and demolition. And the crass power of that voice! These are eight pieces of intensive listening, always right on the mark. So how does it work? How can anybody create something like that? Well, this man in his forties from Frankfurt, still young at heart and ever hungry, has substantial experience: first with Antitainment (2005-2010), then together with the magnificent Charlotte Simon in Les Trucs, through his cassette label MMODEMM, and also as a musician on various theatre stages. Yet with Das Kinn he feels that he has now finally created music with a true sense of self-liberation." --Hendrik Otremba

$16.50$14.03 IN STOCK

Fluoreszent is the new solo album by Cologne based artist Hans Nieswandt and his third for Hamburg's Bureau B label. Hans Nieswandt is a long standing and highly respected key figure in the music scene of Cologne, of Germany and beyond. As a pioneering DJ since the mid-eighties, as writer and editor for the mighty Spex magazine in the early nineties, and as a music producer, solo and with his group Whirlpool Productions, he helped shape the Sound Of Cologne from the mid-nineties onward. A lot of his musical work at that time took place in the studio owned by legendary band CAN. With his 12-year-running, weekly radio mix show 'Elektronische Melodien' on WDR (the Cologne radio station that built the first studio for electronic music in the 1950s) he suffused generations of listeners with cutting edge electronic music both old and new. Having left Germany to live in Seoul in late 2019, Hans Nieswandt suddenly found a lot of time to check back and immerse himself in all the forms of music that shaped him ever since he was a little glam rock kid in the early seventies -- before becoming a hippie boy, then a punk, then a house head. Now he is all these things rolled into one and the time has come for a proper, new solo album having released mainly collections of remixes, edits and cover versions over the last 20 years. Recorded in 2024 in Seoul, you will find on Fluoreszent ten shiny, fresh, joyous songs taking you to many wonderful places; from Kraut to goth, synth wave to art pop, cosmic to comic -- and all the way to the end of the rainbow. Important contributions came from unexpected sides: legendary German krautrock drummer Wolfgang Seidel gave him permission to use a lot of his beat recordings, a connection was made by Seoul-based German free music pioneer Alfred Harth, (who also took the album cover photo), more drums came from Philipp Janzen of the band Von Spar (who also did the final mix of the album) and the mastering is by Jörg Burger, another living legend of the Cologne electronic music scene. Housed in a cover designed by top illustrator Felix Reidenbach, Fluoreszent marks the happy return of one of Cologne's finest to the international stage.

$26.00$22.10 IN STOCK

LP version. Fluoreszent is the new solo album by Cologne based artist Hans Nieswandt and his third for Hamburg's Bureau B label. Hans Nieswandt is a long standing and highly respected key figure in the music scene of Cologne, of Germany and beyond. As a pioneering DJ since the mid-eighties, as writer and editor for the mighty Spex magazine in the early nineties, and as a music producer, solo and with his group Whirlpool Productions, he helped shape the Sound Of Cologne from the mid-nineties onward. A lot of his musical work at that time took place in the studio owned by legendary band CAN. With his 12-year-running, weekly radio mix show 'Elektronische Melodien' on WDR (the Cologne radio station that built the first studio for electronic music in the 1950s) he suffused generations of listeners with cutting edge electronic music both old and new. Having left Germany to live in Seoul in late 2019, Hans Nieswandt suddenly found a lot of time to check back and immerse himself in all the forms of music that shaped him ever since he was a little glam rock kid in the early seventies -- before becoming a hippie boy, then a punk, then a house head. Now he is all these things rolled into one and the time has come for a proper, new solo album having released mainly collections of remixes, edits and cover versions over the last 20 years. Recorded in 2024 in Seoul, you will find on Fluoreszent ten shiny, fresh, joyous songs taking you to many wonderful places; from Kraut to goth, synth wave to art pop, cosmic to comic -- and all the way to the end of the rainbow. Important contributions came from unexpected sides: legendary German krautrock drummer Wolfgang Seidel gave him permission to use a lot of his beat recordings, a connection was made by Seoul-based German free music pioneer Alfred Harth, (who also took the album cover photo), more drums came from Philipp Janzen of the band Von Spar (who also did the final mix of the album) and the mastering is by Jörg Burger, another living legend of the Cologne electronic music scene. Housed in a cover designed by top illustrator Felix Reidenbach, Fluoreszent marks the happy return of one of Cologne's finest to the international stage.

$26.00 NOT IN STOCK

LP version. Agree to disagree: A selected Krautrock discography. Krautrock, what is it anyway? A genre, a derogative term, a song by Faust, or: a welcome (and recurring) opportunity to talk about all of this. The music associated with the term in question has eagerly been canonized. From the enthusiastic and idiosyncratic ramblings of Julian Cope's "Krautrocksampler" to encyclopedic approaches like Alan and Stephen Freeman's "Crack in the Cosmic Egg", there are plenty of books to read and lists to discuss: Who's in, who isn't? The quarrels and disputes surrounding the terms "Krautrock" and "Kosmische Musik" are a testament to their enduring relevance and fascination. The book Krautrock Eruption by Wolfgang Seidel addresses some of those questions. In this book, you will find an annotated discography of fifty albums. Out of these fifty, Bureau B are presenting an even narrower selection of tracks from twelve albums on this compilation. Lists and compilation track listings inevitably see tracks missing and being left out. The list is meant to inspire repeated or further listening, to spark discussions and -- potentially -- to provoke new lists, perhaps your own! It's all part of the fun. Music is made for enjoyment in the first and for friendly debate in the second place, after all. Featuring Conrad Schnitzler, Eno Moebius Roedelius, Harald Grosskopf, Cluster, Moebius & Plank, Roedelius, Pyrolator, Riechmann, Kluster, Günter Schickert, and Asmus Tietchens.

$26.00$22.10 IN STOCK

LP version. Die Wilde Jagd collaborates with Grammy Award-winning Metropole Orkest, conducted by Simon Dobson, for majestic new album Lux Tenera: A Rite To Joy, commissioned by Roadburn Festival. In an extraordinary convergence of sonic innovation and orchestral mastery, Sebastian Lee Philipp, the visionary behind Die Wilde Jagd, presents his most ambitious project to date. This work emerges from a rare collaboration with the three-time Grammy Award-winning Metropole Orkest. Lux Tenera invites listeners into a meditative exploration of life, joy, and the beauty of existence. The composition premiered on April 21, 2024, in Tilburg, Netherlands, following an intense three-day rehearsal and recording period at Metropole Orkest's studio in Hilversum. This performance -- now captured in the album -- also marks a unique collaboration with British arranger and conductor Simon Dobson, whose sensitive transcription and arrangement of Philipp's music for orchestra elevates the work to an auditory spectacle. Lux Tenera -- translated from Latin as "tender light" -- is an odyssey of sound and thought. Philipp's poetic lyrics -- delivered in both English and German -- weave a tapestry of vivid imagery and allusion, guiding the listener through a world where life, memory, and transcendence coalesce. This intellectual and emotional alchemy is heightened by the orchestral elements at play: a 50-piece ensemble, the primal resonance of two large-scale Taiko drums, and the ancient, raw timbre of the Carnyx, performed by Patrick Kenny. The result is a sonic structure that marries the primal with the avant-garde, the physical with the metaphysical. At its heart, Lux Tenera presents a bold reimagining of Die Wilde Jagd's distinctive sound. Known for hypnotic, slow-building compositions that evoke a sense of ritual and timelessness, Philipp, in this latest work, is granted new sonic breadth by the orchestral textures of the Metropole Orkest. The symphonic scope enhances and magnifies his compositions, creating what can only be described as a sonic architecture that is both monumental and intimate, where each crescendo, each subtle melodic turn, guided by Simon Dobson's conducting skills, speaks to Philipp's understanding of music as an emotional language.

$16.50 LOW STOCK LEVEL

Agree to disagree: A selected Krautrock discography. Krautrock, what is it anyway? A genre, a derogative term, a song by Faust, or: a welcome (and recurring) opportunity to talk about all of this. The music associated with the term in question has eagerly been canonized. From the enthusiastic and idiosyncratic ramblings of Julian Cope's "Krautrocksampler" to encyclopedic approaches like Alan and Stephen Freeman's "Crack in the Cosmic Egg", there are plenty of books to read and lists to discuss: Who's in, who isn't? The quarrels and disputes surrounding the terms "Krautrock" and "Kosmische Musik" are a testament to their enduring relevance and fascination. The book Krautrock Eruption by Wolfgang Seidel addresses some of those questions. In this book, you will find an annotated discography of fifty albums. Out of these fifty, Bureau B are presenting an even narrower selection of tracks from twelve albums on this compilation. Lists and compilation track listings inevitably see tracks missing and being left out. The list is meant to inspire repeated or further listening, to spark discussions and -- potentially -- to provoke new lists, perhaps your own! It's all part of the fun. Music is made for enjoyment in the first and for friendly debate in the second place, after all. Featuring Conrad Schnitzler, Eno Moebius Roedelius, Harald Grosskopf, Cluster, Moebius & Plank, Roedelius, Pyrolator, Riechmann, Kluster, Günter Schickert, and Asmus Tietchens.

$16.50 NOT IN STOCK

Japanese producer Saeko Killy returns for her second album of psychedelic electronics and drum machine workouts with Dream In Dream on Bureau B. In contrast to her first LP Morphing Polaroids (BB 426CD), which was a more collaborative project coming out of the pandemic, Dream In Dream sees Saeko Killy take the lion's share of the controls herself. This time around she wrote and played mostly everything herself, meaning she could arrange her songs exactly how she liked, to draw out their dream-like elements. Occasionally Saeko got around the arm issue by teaming up with her good friend and guitarist Alexa D! saster, who features on "Melancholik" and the album-opener "Kaiju." Right from the start, Saeko invites listeners into her hypnotic musical world, with wide-screen pads, guitars that sound like chants, and dubby reverb slaps, forming the foundation for Saeko's otherworldly vocals. "Melancholik" in contrast, is a moody stomper of up-tempo minimal wave, nodding to her '80s post punk inspirations. These two tracks capture the different sides of Dream In Dream, blissful downtempo dreamscapes next to upbeat excursions for the psychedelic dancefloor. Saeko mixed the album together with Sebastian Lee Philipp aka Die Wilde Jagd, another long-time friend that Saeko was introduced to when she first moved to Berlin. Together in Sebastian's studio, they brought out the harmonics of Saeko's collection of Korgs, Yamahas and other affordable, modern-day versions of classic synths. Music and magic are just some of the languages that appear on Dream In Dream, which also switches between Japanese, English and German. For the track "Jede Farbe" for example, Saeko experimented with each language, to find which would fit the groove best. The result is something that could have been heard booming out of speakers in West Berlin in the '80s. However, the changing languages also place Saeko's songs somewhere between worlds. They sound new wave, but filtered through Saeko's lens of JPop, NDW, and Industrial music. Saeko navigates these in between sounds using signposts from her dreams, guided through the spacetime distortion loops as if by a vision. The true meaning of this vision might not be immediately clear -- but who minds, when the search for that meaning sounds this good?

$26.00 LOW STOCK LEVEL

LP version. Japanese producer Saeko Killy returns for her second album of psychedelic electronics and drum machine workouts with Dream In Dream on Bureau B. In contrast to her first LP Morphing Polaroids (BB 426CD), which was a more collaborative project coming out of the pandemic, Dream In Dream sees Saeko Killy take the lion's share of the controls herself. This time around she wrote and played mostly everything herself, meaning she could arrange her songs exactly how she liked, to draw out their dream-like elements. Occasionally Saeko got around the arm issue by teaming up with her good friend and guitarist Alexa D! saster, who features on "Melancholik" and the album-opener "Kaiju." Right from the start, Saeko invites listeners into her hypnotic musical world, with wide-screen pads, guitars that sound like chants, and dubby reverb slaps, forming the foundation for Saeko's otherworldly vocals. "Melancholik" in contrast, is a moody stomper of up-tempo minimal wave, nodding to her '80s post punk inspirations. These two tracks capture the different sides of Dream In Dream, blissful downtempo dreamscapes next to upbeat excursions for the psychedelic dancefloor. Saeko mixed the album together with Sebastian Lee Philipp aka Die Wilde Jagd, another long-time friend that Saeko was introduced to when she first moved to Berlin. Together in Sebastian's studio, they brought out the harmonics of Saeko's collection of Korgs, Yamahas and other affordable, modern-day versions of classic synths. Music and magic are just some of the languages that appear on Dream In Dream, which also switches between Japanese, English and German. For the track "Jede Farbe" for example, Saeko experimented with each language, to find which would fit the groove best. The result is something that could have been heard booming out of speakers in West Berlin in the '80s. However, the changing languages also place Saeko's songs somewhere between worlds. They sound new wave, but filtered through Saeko's lens of JPop, NDW, and Industrial music. Saeko navigates these in between sounds using signposts from her dreams, guided through the spacetime distortion loops as if by a vision. The true meaning of this vision might not be immediately clear -- but who minds, when the search for that meaning sounds this good?

$28.50$24.23 IN STOCK

LP version. Collector, seeker and storyteller Charles Bals brings his curatorial finesse to Hamburg's Bureau B with Ambientale, a journey into otherworldly sounds from the years 1983-2000. Drifting effortlessly between digital exoticism, mellow fusion, new age groove and library electronics, the pieces range from largely obscure to utterly un-google-able, and coalesce into a stunning soundtrack to tranquil seas, desert sand and starlit skies. Cinematic and enigmatic, Ambientale is a stranger you've only just met but can't stop thinking about. A familiar face to those who dwell in the deep end of the record pool, Charles is an obsessive digger, always on the track of an otherwise unheard sound. Through two trips to "Club Meduse" and star-crossed lovers "America Dream Reserve" and "Black Rain," he's also established himself as a mixtape auteur, weaving together the strange and beautiful into evocative compilations that transport listeners to distinct, imaginative realms. While his previous sets resembled Super-8 vignettes, populated by sun-kissed hedonists and drifting outsiders, Ambientale sees Charles leave the human world behind, exploring all the world's wilderness on the scale of an IMAX epic. Bals opens his sonic travelogue with the bamboo flutes and resonant gongs of esteemed Italian maestro Luigi Ceccarelli, joined by the clean lines and Eastern tonalities of the little-known RanōBoru. The journey deepens with a double-feature from Tokyo composer Akira Mitake, sliding from dreamy New Age soundscapes into the lush groove of floral fusion. Digital rhythms and snaking bass add a Latin accent to the bouzouki of Individual Sensitivity's "Greece Ambientale," while the lilting percussion and shimmering synths of Steve Shehan's smooth jazz rarity "Evening In The Sahara" segue perfectly into a masterpiece of French Balearic from Private Joke. A smoky saxophone rises like mist, echoing through the rainfall on Adriano Maria Vitali's "Velvet Blue Circles," before Masami Tsuchiya pulls listeners into the depths with the aquatic ambience of 1983's "Never Mind," its electronic palette the perfect vehicle to ensure that Akira Mitake's "Spectrum" surprises, rather than startles, with its booming machine drums a superb point of difference. From there, we wander once more into the digital undergrowth, exploring the mystical and magical sounds of the Italian library ensemble Gruppo Sound, along with a rare glimpse of Blue Note new age from Gil Mellé. Police sirens and street noise signal our return to the city, forming the backdrop to the tumbling drums and moody electronic stabs of "Ship Out" by Ferris Wheel, an utterly unknown piece rumored to be a promotional track from a Venezuelan garbage company -- the final twist of intrigue to this otherworldly voyage.

$26.00$22.10 IN STOCK

LP version. Reissue, originally released on Sky Records label, 1983. After a couple of decades dancing in the dark, Berlin brothers Norbert and Volker Schultze finally found their way back into the spotlight via Bureau B's much-needed reissue of their minimal and masterful debut LP Dinner Für 2 (BB 277CD). Now the Hamburg imprint turn their attention to the second VONO LP, Modern Leben, which found the brothers Schultze expanding on the stark palette of their debut, adding spiky fretwork and muscular rock chords to their infectious synth-lines and efficient rhythms for an altogether heftier sound. On Modern Leben, VONO confidently stepped out of the minimalism of their debut, diving headlong into a bold blend of German post-punk, synth pop, and rock influences. Across its 13 tracks, the Schultze brothers offered a kaleidoscope of moods and textures, from brooding gloom-tunes to moments of brighter optimism, crafting an album that feels both cohesive and adventurous. The opener, "Ich steh' im Regen," sets the tone with its effective simplicity: a crisp drum machine, a restrained bassline, and a smooth croon that calls to mind early Japan or Roxy Music. On "Bin Ein Jeder Hat Ihn Gern Boy," taut guitar chops and a brooding synth bass create a simmering tension, sustained by twisted electronics as the track unfolds. The A-side closes on an uplifting note with "Nachtwanderer," its sweeping synth washes evoking a sense of hope as it transitions into a widescreen, cinematic finish. The B-side opens with the DAF-t duality of "Du Siehst So Gut Aus", its lyrical list of compliments yelped over aggressive electro-punk backing, before the romantic "Wenn Du Mich Küsst" cartwheels further towards playfulness via stomping beats and bombastic melodies. The slower "Hurra" introduces greyscale synth stabs and growled vocals, adding an ominous layer to the album's diverse sound, which takes a further detour via the percolating rhythms and almost tropical tones of "Genieß' den Morgen." VONO's sound continued to evolve, coalescing into the hulking EBM roar of 1986's It's Time before the duo dissolved. So much like its creators, Modern Leben is an album that thrives on contrasts, seamlessly moving between stark post-punk grit and expansive synth-pop melodies, while maintaining the intensity and edge that runs through all three of their albums.

$28.00$23.80 IN STOCK

Die Wilde Jagd is the music project of producer and songwriter Sebastian Lee Philipp. Channeling minimalist, tenebrous intensity, Die Wilde Jagd's music weaves a dense and atmospheric web of drama, romance, ecstasy and melancholy. After three studio albums, several EPs and numerous international tours and concerts, the band released the recording of Atem 2022 on Bureau B -- a Roadburn Festival commission that premiered in Tilburg, Netherlands, in April 2021. After the record sold out, the label is pleased to make it available again as a limited color yellow transparent repress. Written for wooden organ pipes, cello, percussion and electronics. A composition commissioned by Roadburn Festival. Performed by Sebastian Lee Philipp, Lih Qun Wong, and Ran Levari. An audacious 45-minute trip into the depths of evolution, organism and metabolism, this piece is an exploration of the mechanism and science of breathing and its essential role in life. Philipp himself plays synthesizers and an instrument developed specifically for the performance: a wooden organ pipe construction operated with an air compressor. The composer is joined on stage by collaborators Lih Qun Wong on cello and voice, as well as Ran Levari (who has played drums in Die Wilde Jagd since 2017) on percussion. Speaking of his composition, Philipp says: "As human evolution enters new realms of reality, I find myself drawn to explore the basic essences of life: the things we are made of, that we take for granted and are, yet, still full of mystery. The parallels between breath and music are undeniable: pace, rhythm, volume and dynamic fluctuations influence us deeply. Breath is the elixir of life and the fuel for one of the most primitive vibrations: the human voice." The themes of creation and spirit within the composition are skillfully enhanced by Turkish visual artist Mürsel Güven.

$16.50$14.03 IN STOCK

After a couple of decades dancing in the dark, Berlin brothers Norbert and Volker Schultze finally found their way back into the spotlight via Bureau B's much-needed reissue of their minimal and masterful debut LP Dinner Für 2 (BB 277CD). Now the Hamburg imprint turn their attention to the second VONO LP, Modern Leben, which found the brothers Schultze expanding on the stark palette of their debut, adding spiky fretwork and muscular rock chords to their infectious synth-lines and efficient rhythms for an altogether heftier sound. On Modern Leben, VONO confidently stepped out of the minimalism of their debut, diving headlong into a bold blend of German post-punk, synth pop, and rock influences. Across its 13 tracks, the Schultze brothers offered a kaleidoscope of moods and textures, from brooding gloom-tunes to moments of brighter optimism, crafting an album that feels both cohesive and adventurous. The opener, "Ich steh' im Regen," sets the tone with its effective simplicity: a crisp drum machine, a restrained bassline, and a smooth croon that calls to mind early Japan or Roxy Music. On "Bin Ein Jeder Hat Ihn Gern Boy," taut guitar chops and a brooding synth bass create a simmering tension, sustained by twisted electronics as the track unfolds. The A-side closes on an uplifting note with "Nachtwanderer," its sweeping synth washes evoking a sense of hope as it transitions into a widescreen, cinematic finish. The B-side opens with the DAF-t duality of "Du Siehst So Gut Aus", its lyrical list of compliments yelped over aggressive electro-punk backing, before the romantic "Wenn Du Mich Küsst" cartwheels further towards playfulness via stomping beats and bombastic melodies. The slower "Hurra" introduces greyscale synth stabs and growled vocals, adding an ominous layer to the album's diverse sound, which takes a further detour via the percolating rhythms and almost tropical tones of "Genieß' den Morgen." VONO's sound continued to evolve, coalescing into the hulking EBM roar of 1986's It's Time before the duo dissolved. So much like its creators, Modern Leben is an album that thrives on contrasts, seamlessly moving between stark post-punk grit and expansive synth-pop melodies, while maintaining the intensity and edge that runs through all three of their albums.