BUREAU B - Forced Exposure

$16.50 PREORDER RELEASE DATE: 12/5/2025

By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening. Also available on black vinyl (BB 497LP) and clear vinyl (BB 497LTD-LP).

$28.00 PREORDER RELEASE DATE: 12/5/2025

LP version. Clear color vinyl. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.

$26.00 PREORDER RELEASE DATE: 12/5/2025

LP version. So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.

$28.00 PREORDER RELEASE DATE: 12/5/2025

LP version. Blue color vinyl. So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.

$26.00 PREORDER RELEASE DATE: 12/5/2025

LP version. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.

$16.50 PREORDER RELEASE DATE: 12/5/2025

So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating. Also available on black vinyl (BB 493LP) and blue vinyl (BB 493LTD-LP).

$16.50 PREORDER RELEASE DATE: 11/28/2025

In 2025, Finnish musician and composer Jimi Tenor celebrated his 60th birthday. He couldn't have imagined a better place to do so than on stage, and so Tenor came to Hamburg with his band in March, not only to celebrate his personal anniversary, but also to record new music. Partly with Hamburg producer Tobias Levin at his Electric Avenue Studio, and partly at Lauri Kallio's Kiikala Center of the Universe Studio Complex, Selenites, Selenites! -- the first album by the Jimi Tenor Band -- was recorded in spring 2025. Tenor can now look back on numerous collaborations, including with Tony Allen, UMO Helsinki Jazz Orchestra, Kabukabu and Freestyle Man. The band, consisting of Eeti Nieminen, Heikki Tuhkanen, Ekow Alabi Savage, Lauri Kallio and Jimi Tenor, has played numerous club and festival gigs together, but had not yet released an album up till now. Recording for the band's debut began at Lauri Kallio's studio in Kiikala, Finland -- an abandoned house in the middle of nowhere that has been converted into a recording studio aptly named Kiikala Center of the Universe Studio Complex. While the band was recording, Lauri's parents cooked for them using ingredients from the Finnish forest: chanterelle mushrooms and moose meat. After two initial sessions, the recordings were sent to Bureau B in Hamburg, who invited the band to join Tobias Levin at his Electric Avenue Studio for another session lasting several days. As the band had already tried out and internalized most of the songs through live performances, the recordings went smoothly and often required only a single take. This quickly resulted in the eight songs that now make up Selenites, Selenites! As so often in the world of Jimi Tenor, it's about space, dimensions and -- of course -- love, conveyed in that energetic and captivating way that makes it impossible to resist this music. Also featured on the track "Shine All Night" is Tenor's second collaboration with Florence Adooni, the queen of Ghanaian frafra gospel. Selenites, Selenites! is an impressive debut that showcases a group of virtuoso musicians in absolute joy of playing and exploring new sonic connections. This is not just any Afro-jazz album, but an extraordinary journey into a raw and unadulterated sound, as if you were standing right in front of the stage while listening to the record.

$26.00 PREORDER RELEASE DATE: 11/28/2025

LP version. In 2025, Finnish musician and composer Jimi Tenor celebrated his 60th birthday. He couldn't have imagined a better place to do so than on stage, and so Tenor came to Hamburg with his band in March, not only to celebrate his personal anniversary, but also to record new music. Partly with Hamburg producer Tobias Levin at his Electric Avenue Studio, and partly at Lauri Kallio's Kiikala Center of the Universe Studio Complex, Selenites, Selenites! -- the first album by the Jimi Tenor Band -- was recorded in spring 2025. Tenor can now look back on numerous collaborations, including with Tony Allen, UMO Helsinki Jazz Orchestra, Kabukabu and Freestyle Man. The band, consisting of Eeti Nieminen, Heikki Tuhkanen, Ekow Alabi Savage, Lauri Kallio and Jimi Tenor, has played numerous club and festival gigs together, but had not yet released an album up till now. Recording for the band's debut began at Lauri Kallio's studio in Kiikala, Finland -- an abandoned house in the middle of nowhere that has been converted into a recording studio aptly named Kiikala Center of the Universe Studio Complex. While the band was recording, Lauri's parents cooked for them using ingredients from the Finnish forest: chanterelle mushrooms and moose meat. After two initial sessions, the recordings were sent to Bureau B in Hamburg, who invited the band to join Tobias Levin at his Electric Avenue Studio for another session lasting several days. As the band had already tried out and internalized most of the songs through live performances, the recordings went smoothly and often required only a single take. This quickly resulted in the eight songs that now make up Selenites, Selenites! As so often in the world of Jimi Tenor, it's about space, dimensions and -- of course -- love, conveyed in that energetic and captivating way that makes it impossible to resist this music. Also featured on the track "Shine All Night" is Tenor's second collaboration with Florence Adooni, the queen of Ghanaian frafra gospel. Selenites, Selenites! is an impressive debut that showcases a group of virtuoso musicians in absolute joy of playing and exploring new sonic connections. This is not just any Afro-jazz album, but an extraordinary journey into a raw and unadulterated sound, as if you were standing right in front of the stage while listening to the record.

$16.50 PREORDER RELEASE DATE: 11/21/2025

A timeless statement on media, culture, and music. Karl Bartos, renowned as an essential member and songwriter of Kraftwerk during their most innovative years, is reissuing his solo album Communication on Hamburg's Bureau B. First released in 2003, 13 years after leaving the legendary electronic group, the re-release arrives at a moment when its central theme, the transformation of culture through electronic media, feels more relevant than ever. When Bartos departed Kraftwerk in 1990, he left behind a catalogue that had redefined electronic music: "The Model," "The Robots," "Numbers," "Pocket Calculator," and many more bear his imprint as co-writer and melody-maker. 2021 Kraftwerk's classic line-up was inducted into the Rock & Roll Hall of Fame for their innovative work -- the first German band ever to be honored. With the sharp-witted electro-pop of Communication, the Kraftwerk legend extended that legacy, turning his focus toward a rapidly evolving media landscape at the turn of the millennium. At the time, the album's exploration of celebrity culture, digital imagery, and the early internet felt like a glimpse into the future. Today, it reads as sharp cultural analysis of a reality that has since become ordinary. Two decades later, this reissue allows Communication to be reconsidered on its own terms. The questions Bartos posed, about image saturation, reality fragmentation, and identity commodification, resonate more strongly in the age of smartphones, social media, and streaming platforms than they did in the early 2000s. Karl Bartos: "We are living in an age of huge behavioral manipulation. Cybernetics, artificial intelligence -- this is a major challenge for humanity." Bartos's role in shaping Kraftwerk's defining sound is undisputed, yet Communication also asserts his independent artistic voice: one that critiques media while celebrating the joy of electronic sound. Its rerelease is less a nostalgic act than a reminder that Bartos's work continues to speak directly to the cultural present. With this reissue on Bureau B, Communication endures as both a document of its time and a timeless statement on media, culture, and music.

$26.00 PREORDER RELEASE DATE: 11/21/2025

LP version. A timeless statement on media, culture, and music. Karl Bartos, renowned as an essential member and songwriter of Kraftwerk during their most innovative years, is reissuing his solo album Communication on Hamburg's Bureau B. First released in 2003, 13 years after leaving the legendary electronic group, the re-release arrives at a moment when its central theme, the transformation of culture through electronic media, feels more relevant than ever. When Bartos departed Kraftwerk in 1990, he left behind a catalogue that had redefined electronic music: "The Model," "The Robots," "Numbers," "Pocket Calculator," and many more bear his imprint as co-writer and melody-maker. 2021 Kraftwerk's classic line-up was inducted into the Rock & Roll Hall of Fame for their innovative work -- the first German band ever to be honored. With the sharp-witted electro-pop of Communication, the Kraftwerk legend extended that legacy, turning his focus toward a rapidly evolving media landscape at the turn of the millennium. At the time, the album's exploration of celebrity culture, digital imagery, and the early internet felt like a glimpse into the future. Today, it reads as sharp cultural analysis of a reality that has since become ordinary. Two decades later, this reissue allows Communication to be reconsidered on its own terms. The questions Bartos posed, about image saturation, reality fragmentation, and identity commodification, resonate more strongly in the age of smartphones, social media, and streaming platforms than they did in the early 2000s. Karl Bartos: "We are living in an age of huge behavioral manipulation. Cybernetics, artificial intelligence -- this is a major challenge for humanity." Bartos's role in shaping Kraftwerk's defining sound is undisputed, yet Communication also asserts his independent artistic voice: one that critiques media while celebrating the joy of electronic sound. Its rerelease is less a nostalgic act than a reminder that Bartos's work continues to speak directly to the cultural present. With this reissue on Bureau B, Communication endures as both a document of its time and a timeless statement on media, culture, and music.

$16.50 PREORDER RELEASE DATE: 10/24/2025

CV Vision returns with the follow-up to his last opus Im Tal der Stutzer and delivers his sixth studio album Release The Beast -- where he finds the sweet spot between psych rock, Detroit techno, fried synths, black metal and library music. Teaming up again with Swedish drummer Uno Bruniusson, CV Vision switched up the last production approach and opted for a return to previous studio methodologies. "I wanted to get a rougher sound on this record," he says. "I dug out my two broken reel-to-reel tape machines, and patched them together, like Frankenstein. That's what gels everything really -- there's different musical styles, but it's the tape machine that brings it all together, sound-wise." Release The Beast does indeed fly off in several directions over the course of fourteen tracks, and gives listeners an insight into the full spectrum of the CV Vision musical universe. Fuzzed-out backbeats and psych progressions establish the opening tracks, as the sweet harmonies of "RTB" and "The Rhythm" are offset by raw magnetic hiss. "Dungeon Drums I, II, III" draws on acid and early Detroit techno experiments, tapping into the cosmic elements of the Motor City's beatdown grooves (and even mediaeval black metal melodies) to bring out a krautrock twist. The second half of Release The Beast takes another turn with instrumental jams, like "Nikita's Tune" and "It's K-Jazz," that nod towards the psychedelic soul of David Axelrod and Rotary Connection, and the trippy DIY experiments of L.G. Mair, Jr. Closing out the album, CV Vision lays down the bluesy stomper "Town Talk" and distorted motorik workout "The Jam" next to the folky incantation of "Brickwall Symphony" and stacked layers of heavy guitars on "Go Your Way." While Release The Beast is a varied tapestry of sounds and styles, there's a common thread running through it all. The cover art depicts the boarded-up entrance of a Berlin stairwell, surrounded by the burnt-out debris of a long-forgotten party.

$26.00 PREORDER RELEASE DATE: 10/24/2025

LP version. CV Vision returns with the follow-up to his last opus Im Tal der Stutzer and delivers his sixth studio album Release The Beast -- where he finds the sweet spot between psych rock, Detroit techno, fried synths, black metal and library music. Teaming up again with Swedish drummer Uno Bruniusson, CV Vision switched up the last production approach and opted for a return to previous studio methodologies. "I wanted to get a rougher sound on this record," he says. "I dug out my two broken reel-to-reel tape machines, and patched them together, like Frankenstein. That's what gels everything really -- there's different musical styles, but it's the tape machine that brings it all together, sound-wise." Release The Beast does indeed fly off in several directions over the course of fourteen tracks, and gives listeners an insight into the full spectrum of the CV Vision musical universe. Fuzzed-out backbeats and psych progressions establish the opening tracks, as the sweet harmonies of "RTB" and "The Rhythm" are offset by raw magnetic hiss. "Dungeon Drums I, II, III" draws on acid and early Detroit techno experiments, tapping into the cosmic elements of the Motor City's beatdown grooves (and even mediaeval black metal melodies) to bring out a krautrock twist. The second half of Release The Beast takes another turn with instrumental jams, like "Nikita's Tune" and "It's K-Jazz," that nod towards the psychedelic soul of David Axelrod and Rotary Connection, and the trippy DIY experiments of L.G. Mair, Jr. Closing out the album, CV Vision lays down the bluesy stomper "Town Talk" and distorted motorik workout "The Jam" next to the folky incantation of "Brickwall Symphony" and stacked layers of heavy guitars on "Go Your Way." While Release The Beast is a varied tapestry of sounds and styles, there's a common thread running through it all. The cover art depicts the boarded-up entrance of a Berlin stairwell, surrounded by the burnt-out debris of a long-forgotten party.

$16.50 IN STOCK

While working in Berlin Wedding at andereBaustelle studio on their upcoming album, Kreidler found also time to dig deep into the vaults of their Düsseldorf and Berlin archives. Thirty years ago, Kreidler's eponymous mini-album was released on Cologne-based label Finlayson; and RIVA, their first outing, on cassette tape, was released a year before that. Both released in limited physical formats and long unavailable. This edition documents the band's beginnings, with threads that can be followed throughout their whole history to their current work. Still, they are straight out of a certain scene, at a certain place, at a certain time. Kreidler -- formed from the encounter of the band Deux Baleines Blanches (Thomas Klein, Andreas Reihse, and Stefan Schneider) with DJ Sport (Detlef Weinrich) -- already in its initial years, and in those that followed, managed to hold seemingly contradictory strands, becoming a fluid form that could equally accommodate the various strengths and interests of its members. This ability has remained intact up to the present lineup of Thomas Klein, Alex Paulick, and Andreas Reihse. Oliver Tepel wrote of their mini-album in 1995 in Spex magazine: "On the basis of calm grooves from andante to moderato -- comparable to the dissolution of object and background in analytical cubism -- the contours of the instruments disappear in favor of mysteriously meandering waves of sound." In 1994, RIVA, the beginning: circuitous somehow, a spatial presence in the restraint, strangely physical in its beauty. Mounting with Das Wilde Heinefeld, with voice and bass clarinet by Fritz Sitterle. Produced for an unreleased Monarchie und Alltag cover version album, conceived by Joerg "Zappo" Zboralski as a follow-up to his Brücke Kaufen album The journey ends in a heated but once again taut textual space, familiar ground for Kreidler, after various gigs with spoken word artists. The photography incorporated on the front cover of this release depicts Kreidler in 1995 in the artists' club WP8.

$26.00 PREORDER RELEASE DATE: 10/17/2025

LP version. While working in Berlin Wedding at andereBaustelle studio on their upcoming album, Kreidler found also time to dig deep into the vaults of their Düsseldorf and Berlin archives. Thirty years ago, Kreidler's eponymous mini-album was released on Cologne-based label Finlayson; and RIVA, their first outing, on cassette tape, was released a year before that. Both released in limited physical formats and long unavailable. This edition documents the band's beginnings, with threads that can be followed throughout their whole history to their current work. Still, they are straight out of a certain scene, at a certain place, at a certain time. Kreidler -- formed from the encounter of the band Deux Baleines Blanches (Thomas Klein, Andreas Reihse, and Stefan Schneider) with DJ Sport (Detlef Weinrich) -- already in its initial years, and in those that followed, managed to hold seemingly contradictory strands, becoming a fluid form that could equally accommodate the various strengths and interests of its members. This ability has remained intact up to the present lineup of Thomas Klein, Alex Paulick, and Andreas Reihse. Oliver Tepel wrote of their mini-album in 1995 in Spex magazine: "On the basis of calm grooves from andante to moderato -- comparable to the dissolution of object and background in analytical cubism -- the contours of the instruments disappear in favor of mysteriously meandering waves of sound." In 1994, RIVA, the beginning: circuitous somehow, a spatial presence in the restraint, strangely physical in its beauty. Mounting with Das Wilde Heinefeld, with voice and bass clarinet by Fritz Sitterle. Produced for an unreleased Monarchie und Alltag cover version album, conceived by Joerg "Zappo" Zboralski as a follow-up to his Brücke Kaufen album The journey ends in a heated but once again taut textual space, familiar ground for Kreidler, after various gigs with spoken word artists. The photography incorporated on the front cover of this release depicts Kreidler in 1995 in the artists' club WP8.

$26.00 IN STOCK

LP version. Schnitzler's collaborations with Wolf Sequenza aka Wolfgang Seidel occupy a special place in his vast musical output. They brought him closer to pop music than ever before or since, with the possible exception of Berlin Express and Auf dem schwarzen Kanal. Following Consequenz and Con 3, Consequenz III is now the third album to be released from this phase of his work.

"Consequenz III follows on directly from the two previous albums. Once again, the pieces sound almost like pop music, once again they are rhythmically and harmoniously structured, once again they are between three and four minutes long. And once again, they are not 100% pop music, but rather a balancing act between strict, abstract seriality and contemporary electronics: no melodies, no vocals, and it's up to each listener to decide whether the pieces are danceable. Rather, the eleven pieces are rhythmic études or finger exercises, especially for Seidel, who once again plays with incredible precision, as if he were a sequencer himself. It is not for nothing that Schnitzler gave him the pseudonym Wolf Sequenza for their joint productions. Musicians such as Wolfgang Seidel continue to lend Schnitzler's sonic universe additional radiance. The fact that the pieces on Consequenz III have already been released in 2006 by the Japanese label Captain Trip under the title Consequenz 2 + was probably only noticed by very few Schnitzler fans outside Japan. Only a small number of the limited edition ever reached Europe, and sold out in no time. Consequenz III therefore reissues material that was previously known only to a few. And there's no end to it: Schnitzler left behind music that was either only released in very small editions (e.g. on cassettes or CDRs) or has never been released at all. There is still plenty to discover in the various archives. Will we ever get to know the 'whole Schnitzler'? I don't think so." --Asmus Tietchens, 2025

$16.50 IN STOCK

Schnitzler's collaborations with Wolf Sequenza aka Wolfgang Seidel occupy a special place in his vast musical output. They brought him closer to pop music than ever before or since, with the possible exception of Berlin Express and Auf dem schwarzen Kanal. Following Consequenz and Con 3, Consequenz III is now the third album to be released from this phase of his work.

"Consequenz III follows on directly from the two previous albums. Once again, the pieces sound almost like pop music, once again they are rhythmically and harmoniously structured, once again they are between three and four minutes long. And once again, they are not 100% pop music, but rather a balancing act between strict, abstract seriality and contemporary electronics: no melodies, no vocals, and it's up to each listener to decide whether the pieces are danceable. Rather, the eleven pieces are rhythmic études or finger exercises, especially for Seidel, who once again plays with incredible precision, as if he were a sequencer himself. It is not for nothing that Schnitzler gave him the pseudonym Wolf Sequenza for their joint productions. Musicians such as Wolfgang Seidel continue to lend Schnitzler's sonic universe additional radiance. The fact that the pieces on Consequenz III have already been released in 2006 by the Japanese label Captain Trip under the title Consequenz 2 + was probably only noticed by very few Schnitzler fans outside Japan. Only a small number of the limited edition ever reached Europe, and sold out in no time. Consequenz III therefore reissues material that was previously known only to a few. And there's no end to it: Schnitzler left behind music that was either only released in very small editions (e.g. on cassettes or CDRs) or has never been released at all. There is still plenty to discover in the various archives. Will we ever get to know the 'whole Schnitzler'? I don't think so." --Asmus Tietchens, 2025

$28.00 IN STOCK

LP version. Color vinyl. Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.

$16.50 IN STOCK

Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.

$26.00 IN STOCK

LP version. Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.

$35.00 IN STOCK

Double LP version. Electronic pioneers Propaganda follow up their acclaimed 2024 comeback with Remix Encounters, a broad and brilliant remix album featuring Moby, Tangerine Dream, Rhys Fulber, Schiller, and more. Released on Bureau B, this remix collection reflects the enthusiasm Propaganda's return after three decades of silence has ignited among contemporary artists, who approached the project with fresh energy and creative freedom.

"Since breaking new ground with their seminal 1985 debut A Secret Wish and its pioneering remix companion Wishful Thinking, Propaganda have thrived on transformation. Yet rather than revisiting the past, Remix Encounters looks forward, building on the vitality of last year's album and celebrating its widespread critical and fan acclaim. What began as a remix request from Finnish electronic maestro Jori Hulkkonen, returning the favor after Ralf Dörper's contribution to his last album, quickly blossomed into an international collaboration, drawing in luminaries such as Moby, Tangerine Dream, Rhys Fulber (Front Line Assembly, Delerium), and Schiller. Embracing openness, Propaganda spent the fourth quarter of 2024 encouraging the wide range of musicians inspired by their triumphant return to offer their own interpretations. Each brought their distinctive voice to the material, resulting in a thrilling journey through electronic subgenres, from EBM and industrial to rave, ambient, house, and beyond. Rhys Fulber opens the album with a brooding, machine-funk reinvention of 'They Call Me Nocebo,' evolving from a sleek, sinuous introduction into a relentless pneumatic stomp. Next, Schiller offers a powerful remix of 'Distant' that balances raw electro-house and techno energy with the emotional depth of EBM, before Moby transforms 'Purveyor of Pleasure' into a furious early-'90s rave anthem, fusing breakbeats and rolling basslines that pulse with nostalgic urgency yet feel unmistakably modern. Elsewhere, Finnish polymath Jimi Tenor infuses 'Vicious Circle' with cosmic jazz and dub textures, while Pyrolator, a key figure in Düsseldorf's avant-garde scene, delivers a shadowy reinterpretation of 'LoveCraft.' Cult With No Name also contribute a brooding electro-ballad version of the same track. Propaganda's own Michael Mertens teams up with longtime collaborator Hans Steingen to re-envision 'Dystopian Waltz,' shifting its time signature to a gripping 4/4 and intensifying its ominous mood for darker dance floors. The range of remixers speaks volumes: from industrial punks Gewalt and synth purists Metroland to ambient pioneers Tangerine Dream, Remix Encounters unites an eclectic group of electronic artists bound by a shared reverence for innovation and Propaganda's distinctive voice." --Patrick Ryder

$16.50 IN STOCK

Electronic pioneers Propaganda follow up their acclaimed 2024 comeback with Remix Encounters, a broad and brilliant remix album featuring Moby, Tangerine Dream, Rhys Fulber, Schiller, and more. Released on Bureau B, this remix collection reflects the enthusiasm Propaganda's return after three decades of silence has ignited among contemporary artists, who approached the project with fresh energy and creative freedom.

"Since breaking new ground with their seminal 1985 debut A Secret Wish and its pioneering remix companion Wishful Thinking, Propaganda have thrived on transformation. Yet rather than revisiting the past, Remix Encounters looks forward, building on the vitality of last year's album and celebrating its widespread critical and fan acclaim. What began as a remix request from Finnish electronic maestro Jori Hulkkonen, returning the favor after Ralf Dörper's contribution to his last album, quickly blossomed into an international collaboration, drawing in luminaries such as Moby, Tangerine Dream, Rhys Fulber (Front Line Assembly, Delerium), and Schiller. Embracing openness, Propaganda spent the fourth quarter of 2024 encouraging the wide range of musicians inspired by their triumphant return to offer their own interpretations. Each brought their distinctive voice to the material, resulting in a thrilling journey through electronic subgenres, from EBM and industrial to rave, ambient, house, and beyond. Rhys Fulber opens the album with a brooding, machine-funk reinvention of 'They Call Me Nocebo,' evolving from a sleek, sinuous introduction into a relentless pneumatic stomp. Next, Schiller offers a powerful remix of 'Distant' that balances raw electro-house and techno energy with the emotional depth of EBM, before Moby transforms 'Purveyor of Pleasure' into a furious early-'90s rave anthem, fusing breakbeats and rolling basslines that pulse with nostalgic urgency yet feel unmistakably modern. Elsewhere, Finnish polymath Jimi Tenor infuses 'Vicious Circle' with cosmic jazz and dub textures, while Pyrolator, a key figure in Düsseldorf's avant-garde scene, delivers a shadowy reinterpretation of 'LoveCraft.' Cult With No Name also contribute a brooding electro-ballad version of the same track. Propaganda's own Michael Mertens teams up with longtime collaborator Hans Steingen to re-envision 'Dystopian Waltz,' shifting its time signature to a gripping 4/4 and intensifying its ominous mood for darker dance floors. The range of remixers speaks volumes: from industrial punks Gewalt and synth purists Metroland to ambient pioneers Tangerine Dream, Remix Encounters unites an eclectic group of electronic artists bound by a shared reverence for innovation and Propaganda's distinctive voice." --Patrick Ryder

$35.00 IN STOCK

Double LP version. This is your invite to the best party around. Putting the focus on the body and following their feelings, Hamburg duo Mense Reents and Berndt "Jimi" Siebels crafted direct and danceable house hits which offered a vibrant counterpoint to the cerebral cool of their contemporaries. Emerging from the punk and rock crowd and ultimately smuggling a stubborn sense of self and infectious humor into the club, Egoexpress forged their own crooked path through Germany's electronic underground over their ten-year existence.

"Formed in 1995 and rooted in the radical spirit of Hamburg's St. Pauli district, Egoexpress began as a friendly rebellion? While peers like Blumfeld mastered literate rock and existential dissection, Egoexpress turned instead toward the bass drum: blunt, immediate, and liberating. Their musical upbringing, punk, mod culture, Neue Deutsche Welle, and a love for the hypnotic intensity of Suicide and Bohannon, translated into a fierce commitment to DIY ethos and sonic play? Between 1995 and 2005, the pair developed their sound from minimalist, Atari-driven loops to sprawling, psychedelic club tracks that gestured at house, electro, and pop, without fully belonging to any of them. Though an immediate sensation around Hamburg's Golden Pudel club, their sound took longer to become established outside their city? By 1999, thanks in part to an invitation from Westbam to play Mayday, they were finally embraced into the wider electronic fold. But by then, their work had already crystalized its core ideas. The '00s wore on and electroclash exploded. With their punk background, brash saw-saves and towering beats, it would be easy to consider Egoexpress as forerunners, though in truth they bristled at the retro fixations of the scene. They didn't want to return to the '80s and the boredom of East Frisian adolescence -- they wanted to burn through the now. This retrospective, compiled and curated by Mense, offers a long-overdue reintroduction to one of Germany's most fearless electronic duos. Neither early enough to ride the house wave nor comfortable cashing in on the electroclash moment, Egoexpress fell between the cracks. What they left behind is timeless: a heartfelt, headstrong catalog that celebrates instinct over intellect, rhythm over rigidity, and emotional intensity over sonic orthodoxy. A Piece Of The Action is a reminder that often the most vital music doesn't fit the moment, it defines one of its own." --Patrick Ryder

$16.50 IN STOCK

This is your invite to the best party around. Putting the focus on the body and following their feelings, Hamburg duo Mense Reents and Berndt "Jimi" Siebels crafted direct and danceable house hits which offered a vibrant counterpoint to the cerebral cool of their contemporaries. Emerging from the punk and rock crowd and ultimately smuggling a stubborn sense of self and infectious humor into the club, Egoexpress forged their own crooked path through Germany's electronic underground over their ten-year existence.

"Formed in 1995 and rooted in the radical spirit of Hamburg's St. Pauli district, Egoexpress began as a friendly rebellion? While peers like Blumfeld mastered literate rock and existential dissection, Egoexpress turned instead toward the bass drum: blunt, immediate, and liberating. Their musical upbringing, punk, mod culture, Neue Deutsche Welle, and a love for the hypnotic intensity of Suicide and Bohannon, translated into a fierce commitment to DIY ethos and sonic play? Between 1995 and 2005, the pair developed their sound from minimalist, Atari-driven loops to sprawling, psychedelic club tracks that gestured at house, electro, and pop, without fully belonging to any of them. Though an immediate sensation around Hamburg's Golden Pudel club, their sound took longer to become established outside their city? By 1999, thanks in part to an invitation from Westbam to play Mayday, they were finally embraced into the wider electronic fold. But by then, their work had already crystalized its core ideas. The '00s wore on and electroclash exploded. With their punk background, brash saw-saves and towering beats, it would be easy to consider Egoexpress as forerunners, though in truth they bristled at the retro fixations of the scene. They didn't want to return to the '80s and the boredom of East Frisian adolescence -- they wanted to burn through the now. This retrospective, compiled and curated by Mense, offers a long-overdue reintroduction to one of Germany's most fearless electronic duos. Neither early enough to ride the house wave nor comfortable cashing in on the electroclash moment, Egoexpress fell between the cracks. What they left behind is timeless: a heartfelt, headstrong catalog that celebrates instinct over intellect, rhythm over rigidity, and emotional intensity over sonic orthodoxy. A Piece Of The Action is a reminder that often the most vital music doesn't fit the moment, it defines one of its own." --Patrick Ryder

$16.50 IN STOCK

On their last trip to Silberland, hurtled along the chrome highways and glass skyways of the kosmische landscape, powered ever onwards in perpetual motorik motion. This time, however, the Hamburg imprint opt for an unhurried itinerary, coasting far beyond the familiar rhythmic terrain to immerse listeners in the ambient side of this alternative Allemagne. Building on the tape loops, tone poems, and minimalist compositions of the '60s avant-garde, these musicians utilized the sweeping scope of the synthesizer to create expansive meditations. This compilation offers a survey of this singular era, blending pioneering voices with lesser-known artists for an immersive sonic experience. Taken from Cluster & Eno's self-titled 1977 album, "Ho Renomo" opens the set with a profound minimalism. Roedelius' "Veilchenwurzeln" follows, evoking pastoral scenes in a multi-layered and undulating composition, where synths flow gently, conjuring images of open fields and embodying an organic warmth. Der Plan's "Die Wüste" delves into darker territories, translating the visual world of Rainer Kirberg's cult film into a stark soundscape, while Rolf Trostel's "Hope Is The Answer" sees a steady sequence rise and fall beneath the filter. The koto-like plucks and piercing drones of Vono's "Hitze" create a mysterious and hypnotic experience which draws on both ancient and futuristic tones before giving way to "E-Night", a recording from the sessions of You's 1980 LP Electric Days. As the album progresses, Serge Blenner's "Phrase IV" beguiles with minimalist yet celestial synth lines, while Moebius' "Falsche Ruhe" offers a quiet, haunting meditation on solitude. From there, Harald Grosskopf's "Oceanheart," envelops listeners in aquatic ambient textures that suggest serene, moonlit waters -- a perfect surface to reflect the starry sky portrayed by Lapre's acoustic guitar and wistful synths. The glimmering, crystalline, landscape of Riechmann's "Abendlicht" finds a heartbeat amongst the tranquility, leading seamlessly into the unhurried progression of shimmering chords and chiming synths which make up Adalbert von Deyen's "Per Aspera Ad Astra". Unreleased until Bureau B's recent retrospective set, Faust's "Lampe An, Tür Zu, Leute Rein!" channels a darker, introspective, energy, marked by drones and field recordings while Conrad Schnitzler's "Electric Garden" creates an electronic biosphere buzzing with synthetic life. Moebius & Plank's "Nordöstliches Gefühl" pairs calm percussion and rhythm guitar with pastoral, swirling electronics, resulting in a lush, stately piece that captures the spirit of a vast, open landscape. Deutsche Wertabeit delivers hypnotic minimalism, before Asmus Tietchens' "Räuschlinge" pulls the listener into an eerie atmosphere of deep disquiet. Pyrolator's "Minimal Tape 1/8" offers an immersive wall of sound. The wintry "Southland" by Rüdiger Lorenz evokes the isolation of frozen landscapes, a fitting prologue for "Alleewalzer" by Thomas Dinger.

$16.50 IN STOCK

In the shadow of the nuclear accident in Fukushima in 2011, Japanese musician Phew, artist Erika Kobayashi, and German electronic music pioneer Dieter Moebius (Cluster, Harmonia) came together for an extraordinary project. Together, they developed the concept album Radium Girls 2011, which they released in 2012 under the project name Project UNDARK -- 114 years after the discovery of radium by Marie and Pierre Curie. The album is dedicated to the so-called Radium Girls, female factory workers in the United States during the 1920s who painted watch dials with radioactive luminous paint and suffered severe health consequences from radium poisoning. On the occasion of the 80th anniversary of the atomic bombings of Hiroshima and Nagasaki, the label Bureau B is reissuing Radium Girls -- for the first time also on vinyl. The Radium Girls were female factory workers who unknowingly suffered radiation poisoning while painting watch dials with glow-in-the-dark paint at the United States Radium Factory in Orange, New Jersey, around 1917. A group of five affected women later took their employer to court, setting a legal precedent that granted workers the right to sue companies for illnesses caused by hazardous working conditions. Between 1917 and 1926, the U.S. Radium Corporation -- previously named the Radium Luminous Material Corporation -- specialized in extracting and refining radium from carnotite ore to manufacture glow-in-the-dark paint, marketed as "Undark." As a supplier for the military, the company produced radioluminescent watches and other instruments. The New Jersey factory employed over a hundred workers, primarily women, to apply the radium-based paint, unaware of the serious health dangers associated with it. In total, around 4,000 workers across the United States and Canada were hired to paint watch dials with radium. Many later suffered from severe health problems due to radiation exposure, though the exact number of fatalities remains uncertain.