BUREAU B - Forced Exposure

$16.50 PREORDER RELEASE DATE: 9/25/2026

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. For Wüsthoff, music began long before Faust. As a child he watched his father lose himself in music, playing accordion renditions of operettas, film themes and folk songs with complete absorption. At eleven he discovered jazz through a radio program tracing its history, then taught himself guitar and piano as a teenager, developing an instinctive relationship with sound driven by curiosity rather than convention. Produced by Onnen Bock alongside Bureau B's Gunther Buskies, Fliegen Lernen continues that philosophy. Drawn from decades of archived recordings, new studio experiments and collaborations with musicians in Hamburg, it is a living extension of Faust's open-ended creative spirit. Ideas emerge through chance as much as intention, with sounds, words and stories setting one another in motion until they gradually find their own form. Its title, simultaneously suggesting "flies are learning" and "learning to fly," perfectly captures the playful shifts in perspective that have long defined Wüsthoff's work. Throughout Fliegen Lernen, Wüsthoff revisits and reimagines ideas that have animated his career for more than half a century. Much of the material grew from electronic sequences discovered in his archive, some echoing the patterns behind the homemade "Spieluhr" frequency-divider and sequencer he built during his Faust years. By turns humorous, reflective, cinematic and groove-driven, Fliegen Lernen demonstrates that Wüsthoff's creative imagination remains as restless as ever. Rather than recreating the past, it embodies the same openness that made Faust so singular in the first place: a belief that any sound, object or passing observation can become the spark for something unexpected. More than fifty years after those formative experiments, Wüsthoff continues to approach music as an act of curiosity, collaboration and continual discovery.

$16.50 PREORDER RELEASE DATE: 9/25/2026

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. Werner "Zappi" Diermaier has spent decades channeling spontaneity into a unique rhythmic language; a direct, instinctive and vital beat born from the creative freedom which has long defined the spirit of Faust. This same intuitive approach is at the heart of his new LP Gugaruz, created in collaboration with Dirk Dresselhaus (Schneider TM) and Elke Drapatz, a record which grew organically from shared experiences, chance encounters and the energy of collective interaction. The project's unlikely starting point came in a Vietnamese restaurant, when Diermaier pointed to a piece of pickled baby corn and exclaimed "Gugaruz", an Austrian dialect word for maize. That small moment triggered a chain reaction of ideas that would eventually shape the album's imagery, titles and sound world. Popcorn cooking in a kitchen both became the source material for field recordings used on the opening track and inspired the cover artwork, establishing a process in which everyday sounds and environments became integral musical elements. Throughout the album, Diermaier's percussion serves as both foundation and driving force. His playing is entirely intuitive, developed in real time through improvisation and close interaction with the other musicians. Initial sessions as a trio, with Elke Drapatz operating the drum effects and trigger module and Dirk Dresselhaus on bass, were recorded in the latter's ZONE studio in Berlin over a day and a half, before Uwe Bastiansen and Ilpo Väisänen added overdubs in Hamburg and Kuopio, Finland. Shaped by the dialogue between Diermaier's intuitive rhythmic approach, the interplay between Dresselhaus, Drapatz, Bastiansen and Väisänen and the use of the studio as an instrument, the album captures inspiration at its source, preserving the immediacy, energy and unpredictability of the moment in which it was created.

$26.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. For over half a century, Hans Joachim Irmler has pursued the outer limits of sound. As a child, he would neglect his flute to pluck at the strings of his grandmother's zither, cutting his fingers in search of greater resonance and volume. Drawn from an early age to the physical power of sound, he eventually found his instrument in the organ, whose vast sonic range offered seemingly endless possibilities; he still performs on the first organ he built himself. Expanding his sonic palette with synthesizers, tape manipulation and self-modified electronics, Irmler has relentlessly treated music less as composition than as a force of nature, capable of overwhelming, disorienting, destabilizing and transforming both performer and listener alike. Ungebunden continues this trajectory. Recorded alone in the Faust studio in Scheer over the course of just three weeks, the album does not revisit Faust as a repertoire or a historical artefact, but as a continuous vessel for pure creativity. Working largely through improvisation, Irmler begins with little more than a direction or impulse, allowing the material to reveal its own logic as it unfolds. Massive synthesizer figures advance through roaring distortion while pulsing waveforms, whistles and electronic chatter orbit around them. At once oppressive and playful, structured and chaotic, this album embodies the tension at the heart of Irmler's process. Through Ungebunden, Hans Joachim Irmler poses Faust as a question, its sound a force capable of unsettling assumptions, disrupting perception and opening unforeseen possibilities.

$16.50 PREORDER RELEASE DATE: 9/25/2026

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. Since childhood, Jean-Hervé Peron has embraced creativity wherever he finds it. Whether duetting with the sound of his footsteps, collaborating with cement mixers or experimenting with whatever instrument he can get his hands on, play is at the heart of everything he does. This new album gathers ideas, memories and unfinished projects accumulated across his whole lifetime. Its tongue-in-cheek subtitle, "Maybe Of Interest," offers a typically Peronian joke: MOI can suggest a certain self-confidence or egocentrism, yet the subtitle gently undercuts it, revealing the vulnerability, humor and self-awareness that run throughout the record. In fact, MOI is anything but solitary. Credited to FaUSt, with the "US" deliberately capitalized, the record reflects Péron's belief in collaboration, friendship and collective creativity, bringing together a wide network of musicians, engineers, writers and performers from across the extended Faust family. In fact, more than twenty people contributed to the recording sessions, making MOI as much a collective endeavor as a personal statement. Recorded over two winter weeks at Schiphorst studio in northern Germany and deftly combining the contradictory forces of meticulous planning, free improvisation and chance discovery, MOI draws equally from childhood memories, Fluxus principles, dadaist humor and deeply personal experiences. The resulting album moves effortlessly between musique concrète, avant-pop, jazz, spoken word and experimental electronics, united by Péron's curiosity and irrepressible sense of play. Throughout the record, Jean-Hervé Péron presents FaUSt as a living network of friendships, ideas and creative exchanges.

$28.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Indie exclusive. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. For Wüsthoff, music began long before Faust. As a child he watched his father lose himself in music, playing accordion renditions of operettas, film themes and folk songs with complete absorption. At eleven he discovered jazz through a radio program tracing its history, then taught himself guitar and piano as a teenager, developing an instinctive relationship with sound driven by curiosity rather than convention. Produced by Onnen Bock alongside Bureau B's Gunther Buskies, Fliegen Lernen continues that philosophy. Drawn from decades of archived recordings, new studio experiments and collaborations with musicians in Hamburg, it is a living extension of Faust's open-ended creative spirit. Ideas emerge through chance as much as intention, with sounds, words and stories setting one another in motion until they gradually find their own form. Its title, simultaneously suggesting "flies are learning" and "learning to fly," perfectly captures the playful shifts in perspective that have long defined Wüsthoff's work. Throughout Fliegen Lernen, Wüsthoff revisits and reimagines ideas that have animated his career for more than half a century. Much of the material grew from electronic sequences discovered in his archive, some echoing the patterns behind the homemade "Spieluhr" frequency-divider and sequencer he built during his Faust years. By turns humorous, reflective, cinematic and groove-driven, Fliegen Lernen demonstrates that Wüsthoff's creative imagination remains as restless as ever. Rather than recreating the past, it embodies the same openness that made Faust so singular in the first place: a belief that any sound, object or passing observation can become the spark for something unexpected. More than fifty years after those formative experiments, Wüsthoff continues to approach music as an act of curiosity, collaboration and continual discovery.

$28.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Indie exclusive. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. Werner "Zappi" Diermaier has spent decades channeling spontaneity into a unique rhythmic language; a direct, instinctive and vital beat born from the creative freedom which has long defined the spirit of Faust. This same intuitive approach is at the heart of his new LP Gugaruz, created in collaboration with Dirk Dresselhaus (Schneider TM) and Elke Drapatz, a record which grew organically from shared experiences, chance encounters and the energy of collective interaction. The project's unlikely starting point came in a Vietnamese restaurant, when Diermaier pointed to a piece of pickled baby corn and exclaimed "Gugaruz", an Austrian dialect word for maize. That small moment triggered a chain reaction of ideas that would eventually shape the album's imagery, titles and sound world. Popcorn cooking in a kitchen both became the source material for field recordings used on the opening track and inspired the cover artwork, establishing a process in which everyday sounds and environments became integral musical elements. Throughout the album, Diermaier's percussion serves as both foundation and driving force. His playing is entirely intuitive, developed in real time through improvisation and close interaction with the other musicians. Initial sessions as a trio, with Elke Drapatz operating the drum effects and trigger module and Dirk Dresselhaus on bass, were recorded in the latter's ZONE studio in Berlin over a day and a half, before Uwe Bastiansen and Ilpo Väisänen added overdubs in Hamburg and Kuopio, Finland. Shaped by the dialogue between Diermaier's intuitive rhythmic approach, the interplay between Dresselhaus, Drapatz, Bastiansen and Väisänen and the use of the studio as an instrument, the album captures inspiration at its source, preserving the immediacy, energy and unpredictability of the moment in which it was created.

$26.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. For Wüsthoff, music began long before Faust. As a child he watched his father lose himself in music, playing accordion renditions of operettas, film themes and folk songs with complete absorption. At eleven he discovered jazz through a radio program tracing its history, then taught himself guitar and piano as a teenager, developing an instinctive relationship with sound driven by curiosity rather than convention. Produced by Onnen Bock alongside Bureau B's Gunther Buskies, Fliegen Lernen continues that philosophy. Drawn from decades of archived recordings, new studio experiments and collaborations with musicians in Hamburg, it is a living extension of Faust's open-ended creative spirit. Ideas emerge through chance as much as intention, with sounds, words and stories setting one another in motion until they gradually find their own form. Its title, simultaneously suggesting "flies are learning" and "learning to fly," perfectly captures the playful shifts in perspective that have long defined Wüsthoff's work. Throughout Fliegen Lernen, Wüsthoff revisits and reimagines ideas that have animated his career for more than half a century. Much of the material grew from electronic sequences discovered in his archive, some echoing the patterns behind the homemade "Spieluhr" frequency-divider and sequencer he built during his Faust years. By turns humorous, reflective, cinematic and groove-driven, Fliegen Lernen demonstrates that Wüsthoff's creative imagination remains as restless as ever. Rather than recreating the past, it embodies the same openness that made Faust so singular in the first place: a belief that any sound, object or passing observation can become the spark for something unexpected. More than fifty years after those formative experiments, Wüsthoff continues to approach music as an act of curiosity, collaboration and continual discovery.

$28.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Indie exclusive. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. Since childhood, Jean-Hervé Peron has embraced creativity wherever he finds it. Whether duetting with the sound of his footsteps, collaborating with cement mixers or experimenting with whatever instrument he can get his hands on, play is at the heart of everything he does. This new album gathers ideas, memories and unfinished projects accumulated across his whole lifetime. Its tongue-in-cheek subtitle, "Maybe Of Interest," offers a typically Peronian joke: MOI can suggest a certain self-confidence or egocentrism, yet the subtitle gently undercuts it, revealing the vulnerability, humor and self-awareness that run throughout the record. In fact, MOI is anything but solitary. Credited to FaUSt, with the "US" deliberately capitalized, the record reflects Péron's belief in collaboration, friendship and collective creativity, bringing together a wide network of musicians, engineers, writers and performers from across the extended Faust family. In fact, more than twenty people contributed to the recording sessions, making MOI as much a collective endeavor as a personal statement. Recorded over two winter weeks at Schiphorst studio in northern Germany and deftly combining the contradictory forces of meticulous planning, free improvisation and chance discovery, MOI draws equally from childhood memories, Fluxus principles, dadaist humor and deeply personal experiences. The resulting album moves effortlessly between musique concrète, avant-pop, jazz, spoken word and experimental electronics, united by Péron's curiosity and irrepressible sense of play. Throughout the record, Jean-Hervé Péron presents FaUSt as a living network of friendships, ideas and creative exchanges.

$16.50 PREORDER RELEASE DATE: 9/25/2026

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. For over half a century, Hans Joachim Irmler has pursued the outer limits of sound. As a child, he would neglect his flute to pluck at the strings of his grandmother's zither, cutting his fingers in search of greater resonance and volume. Drawn from an early age to the physical power of sound, he eventually found his instrument in the organ, whose vast sonic range offered seemingly endless possibilities; he still performs on the first organ he built himself. Expanding his sonic palette with synthesizers, tape manipulation and self-modified electronics, Irmler has relentlessly treated music less as composition than as a force of nature, capable of overwhelming, disorienting, destabilizing and transforming both performer and listener alike. Ungebunden continues this trajectory. Recorded alone in the Faust studio in Scheer over the course of just three weeks, the album does not revisit Faust as a repertoire or a historical artefact, but as a continuous vessel for pure creativity. Working largely through improvisation, Irmler begins with little more than a direction or impulse, allowing the material to reveal its own logic as it unfolds. Massive synthesizer figures advance through roaring distortion while pulsing waveforms, whistles and electronic chatter orbit around them. At once oppressive and playful, structured and chaotic, this album embodies the tension at the heart of Irmler's process. Through Ungebunden, Hans Joachim Irmler poses Faust as a question, its sound a force capable of unsettling assumptions, disrupting perception and opening unforeseen possibilities.

$28.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Indie exclusive. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. For over half a century, Hans Joachim Irmler has pursued the outer limits of sound. As a child, he would neglect his flute to pluck at the strings of his grandmother's zither, cutting his fingers in search of greater resonance and volume. Drawn from an early age to the physical power of sound, he eventually found his instrument in the organ, whose vast sonic range offered seemingly endless possibilities; he still performs on the first organ he built himself. Expanding his sonic palette with synthesizers, tape manipulation and self-modified electronics, Irmler has relentlessly treated music less as composition than as a force of nature, capable of overwhelming, disorienting, destabilizing and transforming both performer and listener alike. Ungebunden continues this trajectory. Recorded alone in the Faust studio in Scheer over the course of just three weeks, the album does not revisit Faust as a repertoire or a historical artefact, but as a continuous vessel for pure creativity. Working largely through improvisation, Irmler begins with little more than a direction or impulse, allowing the material to reveal its own logic as it unfolds. Massive synthesizer figures advance through roaring distortion while pulsing waveforms, whistles and electronic chatter orbit around them. At once oppressive and playful, structured and chaotic, this album embodies the tension at the heart of Irmler's process. Through Ungebunden, Hans Joachim Irmler poses Faust as a question, its sound a force capable of unsettling assumptions, disrupting perception and opening unforeseen possibilities.

$26.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. Since childhood, Jean-Hervé Peron has embraced creativity wherever he finds it. Whether duetting with the sound of his footsteps, collaborating with cement mixers or experimenting with whatever instrument he can get his hands on, play is at the heart of everything he does. This new album gathers ideas, memories and unfinished projects accumulated across his whole lifetime. Its tongue-in-cheek subtitle, "Maybe Of Interest," offers a typically Peronian joke: MOI can suggest a certain self-confidence or egocentrism, yet the subtitle gently undercuts it, revealing the vulnerability, humor and self-awareness that run throughout the record. In fact, MOI is anything but solitary. Credited to FaUSt, with the "US" deliberately capitalized, the record reflects Péron's belief in collaboration, friendship and collective creativity, bringing together a wide network of musicians, engineers, writers and performers from across the extended Faust family. In fact, more than twenty people contributed to the recording sessions, making MOI as much a collective endeavor as a personal statement. Recorded over two winter weeks at Schiphorst studio in northern Germany and deftly combining the contradictory forces of meticulous planning, free improvisation and chance discovery, MOI draws equally from childhood memories, Fluxus principles, dadaist humor and deeply personal experiences. The resulting album moves effortlessly between musique concrète, avant-pop, jazz, spoken word and experimental electronics, united by Péron's curiosity and irrepressible sense of play. Throughout the record, Jean-Hervé Péron presents FaUSt as a living network of friendships, ideas and creative exchanges.

$26.00 PREORDER RELEASE DATE: 9/25/2026

LP version. Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be. Werner "Zappi" Diermaier has spent decades channeling spontaneity into a unique rhythmic language; a direct, instinctive and vital beat born from the creative freedom which has long defined the spirit of Faust. This same intuitive approach is at the heart of his new LP Gugaruz, created in collaboration with Dirk Dresselhaus (Schneider TM) and Elke Drapatz, a record which grew organically from shared experiences, chance encounters and the energy of collective interaction. The project's unlikely starting point came in a Vietnamese restaurant, when Diermaier pointed to a piece of pickled baby corn and exclaimed "Gugaruz", an Austrian dialect word for maize. That small moment triggered a chain reaction of ideas that would eventually shape the album's imagery, titles and sound world. Popcorn cooking in a kitchen both became the source material for field recordings used on the opening track and inspired the cover artwork, establishing a process in which everyday sounds and environments became integral musical elements. Throughout the album, Diermaier's percussion serves as both foundation and driving force. His playing is entirely intuitive, developed in real time through improvisation and close interaction with the other musicians. Initial sessions as a trio, with Elke Drapatz operating the drum effects and trigger module and Dirk Dresselhaus on bass, were recorded in the latter's ZONE studio in Berlin over a day and a half, before Uwe Bastiansen and Ilpo Väisänen added overdubs in Hamburg and Kuopio, Finland. Shaped by the dialogue between Diermaier's intuitive rhythmic approach, the interplay between Dresselhaus, Drapatz, Bastiansen and Väisänen and the use of the studio as an instrument, the album captures inspiration at its source, preserving the immediacy, energy and unpredictability of the moment in which it was created.

$26.00 PREORDER RELEASE DATE: 8/7/2026

LP version. Released in 1974, Zuckerzeit marks a clear turning point in Cluster's work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo's earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster's catalogue, capturing a pivotal moment of transition and refinement. In 1974, Cluster entered the sugar era. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. Strictly speaking, Zuckerzeit is not really an album by Cluster. More precisely, the LP contains two mini solo albums by Moebius and Roedelius. Those who were familiar with the stylistic peculiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster managed to keep both feet on the ground without becoming plain or even sterile. The friendliness of the music is clearly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album's coproducer. When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of losing themselves in long-windedness -- all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today.

$16.50 PREORDER RELEASE DATE: 8/7/2026

Released in 1974, Zuckerzeit marks a clear turning point in Cluster's work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo's earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster's catalogue, capturing a pivotal moment of transition and refinement. In 1974, Cluster entered the sugar era. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. Strictly speaking, Zuckerzeit is not really an album by Cluster. More precisely, the LP contains two mini solo albums by Moebius and Roedelius. Those who were familiar with the stylistic peculiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster managed to keep both feet on the ground without becoming plain or even sterile. The friendliness of the music is clearly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album's coproducer. When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of losing themselves in long-windedness -- all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today.

$16.50 PREORDER RELEASE DATE: 7/31/2026

When Conal was released in 1981 on the Norwegian independent label Uniton Records with an initial run of 4,000 LPs, Schnitzler had already long been known beyond the borders of the Federal Republic of Germany and was now appreciated worldwide as a media artist and musician. In addition to the many cassette and LP editions he released himself, international labels were now increasingly releasing his music. In the same year as Conal, for example, the album Control was released on the American label DYS, followed in 1986 by Concert in the USA and Consequenz 2 in Spain. Schnitzler worked tirelessly and his total work of art, including his music, was becoming increasingly multifaceted. Conal is a good example of this development.

"The two tracks, each around 21 minutes long ('N1' and 'N2'), are not cast from the same mold, but consist of several parts blended together, which are not noted as such in the credits. This sequence creates the character of a narrative divided into several chapters, which, however, does not offer the listener a concrete plot. Schnitzler was not a storyteller. When he divides long pieces into clearly distinguishable sections, as he does here in Conal, it is in order to create a kind of panoramic view of his current work phase in condensed form. The complexity of the individual sections and the extraordinarily skillful and technically flawless crossfades and layering suggest that Conal was once again produced in Peter Baumann's studio. Although the good relationship between the two musicians never led to a musical collaboration, Baumann repeatedly made his extremely well-equipped Paragon Studio available to Schnitzler. It is also conceivable that Baumann and his brilliant sound engineer Will Roper provided useful technical suggestions for the realization of Schnitzler's music. Conal is one of those albums that, when it was released in the early 1980s, astonished Schnitzler listeners in a positive way: Schnitzler had once again dared to take an artistic step forward. It is hard to comprehend that this restless, uncompromising artist released one high-caliber album after another in relatively quick succession. For he was not only a musician, but also a media artist, performer and author of art theory texts. Fortunately, Conal is one of the treasures from his catalogue of works, and I have already asked elsewhere: How many other treasures are waiting to be rediscovered. The grand mosaic that is Schnitzler still has gaps, even when the contours are clearly visible." --Asmus Tietchens, 2025

$26.00 PREORDER RELEASE DATE: 7/31/2026

LP version. When Conal was released in 1981 on the Norwegian independent label Uniton Records with an initial run of 4,000 LPs, Schnitzler had already long been known beyond the borders of the Federal Republic of Germany and was now appreciated worldwide as a media artist and musician. In addition to the many cassette and LP editions he released himself, international labels were now increasingly releasing his music. In the same year as Conal, for example, the album Control was released on the American label DYS, followed in 1986 by Concert in the USA and Consequenz 2 in Spain. Schnitzler worked tirelessly and his total work of art, including his music, was becoming increasingly multifaceted. Conal is a good example of this development.

"The two tracks, each around 21 minutes long ('N1' and 'N2'), are not cast from the same mold, but consist of several parts blended together, which are not noted as such in the credits. This sequence creates the character of a narrative divided into several chapters, which, however, does not offer the listener a concrete plot. Schnitzler was not a storyteller. When he divides long pieces into clearly distinguishable sections, as he does here in Conal, it is in order to create a kind of panoramic view of his current work phase in condensed form. The complexity of the individual sections and the extraordinarily skillful and technically flawless crossfades and layering suggest that Conal was once again produced in Peter Baumann's studio. Although the good relationship between the two musicians never led to a musical collaboration, Baumann repeatedly made his extremely well-equipped Paragon Studio available to Schnitzler. It is also conceivable that Baumann and his brilliant sound engineer Will Roper provided useful technical suggestions for the realization of Schnitzler's music. Conal is one of those albums that, when it was released in the early 1980s, astonished Schnitzler listeners in a positive way: Schnitzler had once again dared to take an artistic step forward. It is hard to comprehend that this restless, uncompromising artist released one high-caliber album after another in relatively quick succession. For he was not only a musician, but also a media artist, performer and author of art theory texts. Fortunately, Conal is one of the treasures from his catalogue of works, and I have already asked elsewhere: How many other treasures are waiting to be rediscovered. The grand mosaic that is Schnitzler still has gaps, even when the contours are clearly visible." --Asmus Tietchens, 2025

$26.00 PREORDER RELEASE DATE: 7/31/2026

LP version. Recorded in June 1978 during a sweltering Paris summer, Ose's Adonia captures a rare alignment of intellect, imagination and emerging technology. At just 26, Hervé Picart was living three parallel lives: scholar of rhetoric and ancient languages, journalist for the French music press (notably Best), and guitarist /bassist in progressive garage bands. Drawn increasingly away from British prog toward keyboards and synthesizers, he began envisioning a more spatial music situated somewhere between Pink Floyd, Tangerine Dream, and Kraftwerk. That triangulation would define Adonia. Ose itself was conceived as a variable-geometry project devoted to concept albums, with narrative and composition as guiding forces. Picart imagined a platform that could accommodate shifting collaborators and literary or interplanetary themes. For Adonia, the collaboration formed close to home. Through his journalism he had befriended Richard Pinhas of Heldon, a fellow academic and near neighbor in Paris' Latin Quarter. Their shared philosophical and musical affinities created a natural bond. Picart invited Pinhas not simply as a guest but as a key creative partner, overseeing electronic arrangements and contributing guitar and synthesizer work. Heldon drummer François Auger completed the trio, valued for his remarkable ability to play tightly against sequencers without losing fluidity. Arriving with detailed demo tapes, Picart had mapped much of the material in advance, yet the studio remained a site of invention. Sessions took place at night in Barclay's large studio on Avenue Hoche, by day home to a grand orchestra, prompting moments of astonishment when classical musicians encountered the trio's imposing array of synthesizers, including the Moog 55 modular system. Recorded in a week and mixed in three days: a focused, pre-digital intensity emblematic of the era. Conceptually, Adonia fuses ancient myth and speculative fiction. Over time, the album attained cult status, its sonic freshness undimmed. Standing at the crossroads of Berlin School electronics, progressive rock and early synth-pop, Adonia refracts these currents through a distinctly French sensibility and Pinhas' singular presence. Nearly half a century on, its fusion of myth and modernity remains vivid, a testament to a fertile moment whose echoes continue to resonate.

$16.50 PREORDER RELEASE DATE: 7/31/2026

With Sowas von Egal Vol 3, the Hamburg-based Damaged Goods DJ team continues its compilation series on Bureau B, once again turning its attention to the underground scenes of Germany, Austria, and Switzerland in the early 1980s. The selected tracks originate from a period in which, alongside the commercial Neue Deutsche Welle (NDW), a number of innovative and often more abrasive bands and artists operated outside the mainstream. They combined influences from new wave, synthwave, post-punk, and the avant-garde with German lyrics -- and occasionally other languages -- releasing their music in very small editions on indie labels or entirely DIY. As a result, many of these records are now rare and highly sought after. The tracks emerged in a cultural climate strongly shaped by the rupture brought about by punk. Five years after the second installment, the search for hard-to-find artists and rights holders began again. Thanks to the cohesion and supportive network within the scene, it has once more been possible to assemble a carefully curated and lovingly compiled selection. As with the first two volumes, part three follows an approach closely aligned with the DJ repertoire of the Damaged Goods nights. The focus is on captivating, danceable, and catchy tracks. Songs that often reveal their full impact on first listen in a club setting. The aim is to make forgotten or hard-to-access pieces audible and available again. The artwork is once again by Biljana Tomic, drawing on an industrial-apocalyptic sensibility and referencing the iconic facades of Horten department stores, evoking a visual aesthetic of the 1980s. The sound has once again been carefully remastered by Tom Morgenstern. Sowas von Egal Vol 3 seamlessly continues the series and presents itself as a lovingly curated snapshot of a highly productive yet often overlooked phase in German, Austrian, and Swiss pop history. Featuring Guyer's Connection, Starter, Bergtraum, Die Shadocks, Isolierband, Bizarre Leidenschaft, Ziggy & Eno, André Szigethy, Zero Zero, JaJaJa, Ti-Tho, Vorgruppe, X-Beliebig, Trick 17, Die Egozentrischen 2, and Tommi Stumpff.

$16.50 PREORDER RELEASE DATE: 7/31/2026

Recorded in June 1978 during a sweltering Paris summer, Ose's Adonia captures a rare alignment of intellect, imagination and emerging technology. At just 26, Hervé Picart was living three parallel lives: scholar of rhetoric and ancient languages, journalist for the French music press (notably Best), and guitarist /bassist in progressive garage bands. Drawn increasingly away from British prog toward keyboards and synthesizers, he began envisioning a more spatial music situated somewhere between Pink Floyd, Tangerine Dream, and Kraftwerk. That triangulation would define Adonia. Ose itself was conceived as a variable-geometry project devoted to concept albums, with narrative and composition as guiding forces. Picart imagined a platform that could accommodate shifting collaborators and literary or interplanetary themes. For Adonia, the collaboration formed close to home. Through his journalism he had befriended Richard Pinhas of Heldon, a fellow academic and near neighbor in Paris' Latin Quarter. Their shared philosophical and musical affinities created a natural bond. Picart invited Pinhas not simply as a guest but as a key creative partner, overseeing electronic arrangements and contributing guitar and synthesizer work. Heldon drummer François Auger completed the trio, valued for his remarkable ability to play tightly against sequencers without losing fluidity. Arriving with detailed demo tapes, Picart had mapped much of the material in advance, yet the studio remained a site of invention. Sessions took place at night in Barclay's large studio on Avenue Hoche, by day home to a grand orchestra, prompting moments of astonishment when classical musicians encountered the trio's imposing array of synthesizers, including the Moog 55 modular system. Recorded in a week and mixed in three days: a focused, pre-digital intensity emblematic of the era. Conceptually, Adonia fuses ancient myth and speculative fiction. Over time, the album attained cult status, its sonic freshness undimmed. Standing at the crossroads of Berlin School electronics, progressive rock and early synth-pop, Adonia refracts these currents through a distinctly French sensibility and Pinhas' singular presence. Nearly half a century on, its fusion of myth and modernity remains vivid, a testament to a fertile moment whose echoes continue to resonate.

$26.00 PREORDER RELEASE DATE: 7/3/2026

LP version. With Sowas von Egal Vol 3, the Hamburg-based Damaged Goods DJ team continues its compilation series on Bureau B, once again turning its attention to the underground scenes of Germany, Austria, and Switzerland in the early 1980s. The selected tracks originate from a period in which, alongside the commercial Neue Deutsche Welle (NDW), a number of innovative and often more abrasive bands and artists operated outside the mainstream. They combined influences from new wave, synthwave, post-punk, and the avant-garde with German lyrics -- and occasionally other languages -- releasing their music in very small editions on indie labels or entirely DIY. As a result, many of these records are now rare and highly sought after. The tracks emerged in a cultural climate strongly shaped by the rupture brought about by punk. Five years after the second installment, the search for hard-to-find artists and rights holders began again. Thanks to the cohesion and supportive network within the scene, it has once more been possible to assemble a carefully curated and lovingly compiled selection. As with the first two volumes, part three follows an approach closely aligned with the DJ repertoire of the Damaged Goods nights. The focus is on captivating, danceable, and catchy tracks. Songs that often reveal their full impact on first listen in a club setting. The aim is to make forgotten or hard-to-access pieces audible and available again. The artwork is once again by Biljana Tomic, drawing on an industrial-apocalyptic sensibility and referencing the iconic facades of Horten department stores, evoking a visual aesthetic of the 1980s. The sound has once again been carefully remastered by Tom Morgenstern. Sowas von Egal Vol 3 seamlessly continues the series and presents itself as a lovingly curated snapshot of a highly productive yet often overlooked phase in German, Austrian, and Swiss pop history. Featuring Guyer's Connection, Starter, Bergtraum, Die Shadocks, Isolierband, Bizarre Leidenschaft, Ziggy & Eno, André Szigethy, Zero Zero, JaJaJa, Ti-Tho, Vorgruppe, X-Beliebig, Trick 17, Die Egozentrischen 2, and Tommi Stumpff.

$26.00 IN STOCK

LP version. Bureau B presents the reissue of Nothing, the 2001 album by Ata Tak's Frank Fenstermacher and Kurt Dahlke (Pyrolator) aka A Certain Frank, newly remastered and available on vinyl for the first time. Marking its 25th anniversary, the record stands as a quietly distinctive chapter in Düsseldorf's post-Kraut electronic lineage -- understated, atmospheric, and strikingly timeless.

"A Certain Frank emerged in the mid-1990s from Düsseldorf's uniquely fertile musical environment. Kurt Dahlke (Pyrolator) and Frank Fenstermacher were already central figures in the city's post-war pop modernism: pioneers of the so-called Neue Deutsche Welle, members of Der Plan and Fehlfarben, and co-founders of the influential Ata Tak label. Since its founding in 1980, Ata Tak had championed an alternative German aesthetic that combined conceptual thinking with pop sensibility, releasing early work by artists such as DAF, Andreas Dorau, S.Y.P.H., Holger Hiller, and later Oval. Against this backdrop, A Certain Frank proposed a different trajectory -- not oppositional, but deliberately understated. Rather than pursuing dancefloor functionality or revivalist gestures, Dahlke and Fenstermacher turned toward reduction, atmosphere, and subtle reconstruction. Drawing on easy listening and the once so-called 'exotica,' they treated these references as malleable material, reshaping them into something restrained yet contemporary. Nothing completed an informal trilogy shaped by denial and refinement. Conceived from the outset as a fully collaborative work, the album moved beyond sample-based construction toward a largely self-generated sound. Basslines, drum grooves, and synthesizer textures were played live, joined by the voices of Mai Lingani, Karin Knipphals, and Fenstermacher himself -- integrated as tonal elements within a fluid sonic fabric rather than traditional lead vocals. Dutch bassist Pascal Plantinga and Austrian drummer Mike Daliot contributed significantly to the record's light-footed, groove-oriented energy. Originally released at the threshold of the new millennium, Nothing occupies a distinct space between jazz-inflected electronica, cinematic ambience, digital dub, and understated traces of drum and bass and lounge. Neither functional club music nor retro exercise, it embodies a quietly confident strain of Düsseldorf modernism -- reflective, precise, and resistant to spectacle. With this anniversary edition, Bureau B once again highlights a strand of German electronic music that exists between eras and categories. Carefully remastered and now pressed on vinyl for the first time, Nothing returns not as a relic, but as a work whose understated clarity continues to resonate -- a testament to Bureau B's ongoing dedication to preserving and recontextualizing Germany's experimental pop heritage." --Hannes Stutz, 2026

$29.50 IN STOCK

Richard Pinhas' Heldon remains a crucial outlier in the 1970s European underground, fusing the more radical edges of progressive rock with early synthesizer experimentation in ways that still feel ahead of their time. Released in 1976, Agneta Nilsson captures a moment of consolidation, as extended pieces evolve through cycles of tension, drift, and release. The album's internal logic feels both rigorous and open-ended, balancing restraint with sudden surges of intensity. Reissued for its 50th anniversary, this edition arrives in red vinyl, hand-numbered and limited to 500 copies. Essential material, sharpened for collectors and new listeners alike. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of "Perspective," partners in a thematic whole. The album-closing "Perspective IV" is one of Pinhas' most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. "This was the first album where I had enough money to rent one or two days in a real studio to do the drumming," says Pinhas. "After that we had real budgets for studio time. That all changed with and after Agneta Nilsson -- that was a good turn." Pinhas parlayed Heldon's change of direction into three more adventurous albums in the '70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas in incapable of sitting still.

$16.50 IN STOCK

Bureau B presents the reissue of Nothing, the 2001 album by Ata Tak's Frank Fenstermacher and Kurt Dahlke (Pyrolator) aka A Certain Frank, newly remastered and available on vinyl for the first time. Marking its 25th anniversary, the record stands as a quietly distinctive chapter in Düsseldorf's post-Kraut electronic lineage -- understated, atmospheric, and strikingly timeless.

"A Certain Frank emerged in the mid-1990s from Düsseldorf's uniquely fertile musical environment. Kurt Dahlke (Pyrolator) and Frank Fenstermacher were already central figures in the city's post-war pop modernism: pioneers of the so-called Neue Deutsche Welle, members of Der Plan and Fehlfarben, and co-founders of the influential Ata Tak label. Since its founding in 1980, Ata Tak had championed an alternative German aesthetic that combined conceptual thinking with pop sensibility, releasing early work by artists such as DAF, Andreas Dorau, S.Y.P.H., Holger Hiller, and later Oval. Against this backdrop, A Certain Frank proposed a different trajectory -- not oppositional, but deliberately understated. Rather than pursuing dancefloor functionality or revivalist gestures, Dahlke and Fenstermacher turned toward reduction, atmosphere, and subtle reconstruction. Drawing on easy listening and the once so-called 'exotica,' they treated these references as malleable material, reshaping them into something restrained yet contemporary. Nothing completed an informal trilogy shaped by denial and refinement. Conceived from the outset as a fully collaborative work, the album moved beyond sample-based construction toward a largely self-generated sound. Basslines, drum grooves, and synthesizer textures were played live, joined by the voices of Mai Lingani, Karin Knipphals, and Fenstermacher himself -- integrated as tonal elements within a fluid sonic fabric rather than traditional lead vocals. Dutch bassist Pascal Plantinga and Austrian drummer Mike Daliot contributed significantly to the record's light-footed, groove-oriented energy. Originally released at the threshold of the new millennium, Nothing occupies a distinct space between jazz-inflected electronica, cinematic ambience, digital dub, and understated traces of drum and bass and lounge. Neither functional club music nor retro exercise, it embodies a quietly confident strain of Düsseldorf modernism -- reflective, precise, and resistant to spectacle. With this anniversary edition, Bureau B once again highlights a strand of German electronic music that exists between eras and categories. Carefully remastered and now pressed on vinyl for the first time, Nothing returns not as a relic, but as a work whose understated clarity continues to resonate -- a testament to Bureau B's ongoing dedication to preserving and recontextualizing Germany's experimental pop heritage." --Hannes Stutz, 2026

$28.00 NOT IN STOCK

Cluster -- Hans-Joachim Roedelius and Dieter Moebius -- occupy a central position in the evolution of European electronic music, moving from early experimental noise into more open, melodic forms without losing their exploratory edge. Released in 1976, Sowiesoso finds the duo working with a new sense of clarity and restraint, shaping gentle, cyclical pieces from a small set of tools and a deliberately reduced studio setup. The music unfolds with quiet precision, balancing repetition and variation while maintaining an understated rhythmic flow. Marking its 50th anniversary, the album is reissued as a limited LP edition on 180g vinyl, hand-numbered and restricted to 1000 copies. A defining work from Cluster's mid-1970s period, presented in a carefully produced anniversary format. Sowiesoso follows on from Cluster's most highly acclaimed album Zuckerzeit. Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Moebius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a fourtrack tape machine, two Revox A77 stereo tapedecks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of electronic and acoustic elements. This could only be Cluster music, its harmonies reaffirm the quality of song, in spite of eluding song structure as such.

$26.00 IN STOCK

LP version. The legendary Harald Grosskopf continues his long-standing relationship with Hamburg's Bureau B with Glitches Brew, a vital new LP and the latest stage in his ongoing dialogue with electronic possibility. The titular nod to Miles Davis' masterpiece Bitches Brew reflects Grosskopf's sense of humor, while also hinting at the album's underlying theme: the productive friction between man and machine.

"For the uninitiated, Grosskopf's career spans six decades of German music history. From early beat groups in Hildesheim, through Krautrock propulsion with Wallenstein, cosmic explorations alongside Ashra, and defining work with Klaus Schulze, he has consistently pushed rhythm into evolving technological contexts. His 1980 solo debut Synthesist, previously reissued on Bureau B, helped establish a sequencer-driven language that bridged kosmische tradition and modern electronic form. Created over three to four months in his garden studio, Glitches Brew is shaped by speed and responsiveness. Grosskopf worked primarily with digital instruments this time, travelling light and favoring fast access from feeling to recording. Ideas arrive spontaneously; he works until satisfied, often reshaping sounds the next day if they fail to spark with the same intensity. What emerges is a vivid, present-tense record where human instinct and electronic process remain in constant, audible conversation. Stems are recorded in mono or stereo, passed through a Studer desk and printed to two-track, restoring weight and tactility to digital sources. Where VST synthesis can lack transient bite, analogue circuitry restores what he calls the sensation of leather, wood and metal. The signal path is humanized without surrendering to nostalgia. Glitches Brew balances analogue intuition and digital immediacy, kosmische heritage and contemporary electronic language. It is the work of an artist still following his own ideas, still excited by sound, still testing the edges. Sixty years on from his first beat-group rehearsals, Harald Grosskopf remains what he has always been: a musician for whom rhythm is liberation, technology is possibility, and the future is something to invent again and again." -- Patrick Ryder, 2026