|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 108 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
3000GRAD 027CD
|
Uncertainty about and confidence in the future, melancholia and euphoria, tears and hope: The fifth Mollono.Bass album resonates with a zeitgeist that is a complex, highly divergent, sometimes even opposing state of thoughts and emotions. Deep and heady groove structures create compelling drive, emotive human voices add introspective fragility, free flowing harmonies unfurl as intense collective ecstasy. Vocals reflect pensively on issues like falling apart, yet the tracks themselves are magnificent examples of what happens when creative minds come together. MAZ'N contributed to several titles on Tear & Hope, in one of them listeners also hear the voice of Margret. The song-oriented approach of these tunes is another very contemporary aspect. Andy's Echo adds to the signature vibe of friendship and co-creation on this Mollono.Bass album with a mutual production, as well. With many different expressions of its main theme, Tears & Hope has everything it takes to make a powerful, electrifying impact - on major dancefloors and in intimate listening settings alike.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ABERRANT 009LP
|
Volume 2 of the absolutely infamous (and highly sought after) Cult Sounds compilation, comprised of music done by fringe religious cults around the world. Oh, boy! Volume 2 of Cult Sounds is here, so it's time for another bad trip through the music produced by weird, extreme cults all over the world. From hypnotic Manson Family recordings to the catchy '80s pop manufactured by The Family, to jazz, psych jams, country music or plain out-there musical experimentation, this second volume gets as weird, dark and mesmerizing as its predecessor, amazing. Featuring Zendik Farm Orgaztra, Church Universal and Triumphant, Gabriel of Sedona's Bright & Morning Star Choir, Otto Muehl, The Lyman Family, Lisa Kindred, Aun Shinrykio, Joe Pass, Dr Malachi Z. York, Unification Church, and Unarius.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
AKTE 001EP
|
Akte is a series of events at the renowned Club Gewölbe to keep the vision of timeless ambient, minimal, and techno in Cologne alive and is now expanding to develop a record label. The first release is a 12" EP by founder Philipp Stoffel featuring four originals and a remix by living legend .VRIL. A modern interpretation of techno with strong dub influences, produced in different styles and put together to form a meaningful listening journey. Akte pursues an EP concept away from pure techno tools towards the idea of packing the diverse listening experience of an LP into an EP, striving for a texturally cohesive aural aesthetic. Mastering engineer Stefan Betke, also known as Pole, gave the record its sonic polish. The EP is rounded off by the grainy cover design by Berlin-based artist Friedrich Breidenich, which visually captures the sonic aesthetic and translates the listening experience into a striking visual form.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ATA 036LP
|
2025 repress; originally released in 2024. Work Money Death's People Of The Fast Flowing River. Featuring Tony Burkill (tenor sax), Neil Innes (double bass, piano), Sam Hobbs (drums), Richard Ormrod (piano, harmonium, Wurlitzer, flute, alto flute, baritone sax, contrabass clarinet, tenor horn, euphonium), Danny Templeman (percussion), Sam Bell (congas), Johnny Enright (trombone, tuba), Olivia Cuttill (trumpet), Tom Sharpe (trumpet, flugelhorn), and James Hobbis (tuba).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BAADM 018LP
|
Panos Alexiadis is a sound artist based in Athens, Greece, active in the field of contemporary electro-acoustic music. He founded and co-curated the tape label Thalamos, a home for exploratory sounds, where some of his own works also found their place. Marking a return after a period of (sonic) reflection, Cestrum Nocturnum is an album of remembrance and renewal. Through a lattice of self-sampled piano, fragmented voices, field recordings, and transient digital traces, Alexiadis composes a space of warmth -- an electronic tapestry woven from the ephemeral. Across six pieces, sound unfolds like memory: layered, textured, dissolving at the edges yet leaving an imprint. A meditation on the cyclical nature of being and the often-unnoticed beauty that quietly persists, even in the darkest hours. Cestrum Nocturnum is both a shelter and a signal. All music composed, recorded, and mixed by Panos Alexiadis. Spoken word on "But One" and "Follower" by Fotini Stamatelopoulou. "The Night Has a Thousand Eyes" poem by Francis William Bourdillon. Mastered by Christophe Albertijn.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BCM 9620CD
|
Beat Records is relaunching on the market the classic Western OST by Nora Orlandi and Robby Poitevin for the film La morte non conta i dollari (aka Death at Owell Rock), directed in 1967 by Riccardo Freda (under the pseudonym George Lincoln), with a screenplay by Giuseppe Masini and Freda. At the time of the film's release, not a single note from the score was released, and it wasn't until 2007 that GDM Music issued the complete original soundtrack on CD for the very first time. The title has been absent from the market for many years, so this reissue with improved sound will make all Spaghetti Western fans around the world happy. Nora Orlandi and Robby Poitevin composed an orchestral score introduced by the "Titoli di testa," a rhythmic adventurous theme with a nostalgic flavor for trumpet, orchestra and choir. The central musical motif is a recurring love theme with choir accompaniment, with the addition of the harmonica as well as a version sung by Raoul. The entire dramatic side of the story is underlined by music of suspense and mystery. Classical pieces with a religious flavor are performed on organ and guitar, plus there is some Latin American folk music and a square dance. Nora Orlandi performs an evocative ancient ballad that is reprised with wordless vocals. This CD comes from the mono masters of the original sessions, plus six rare stereo bonus tracks that were found on another master, perhaps conceived for a record that never saw the light of day in 1967.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CDCR 153CD
|
Beat Records Company presents the expanded version of the original motion picture soundtrack of the movies L'Anticristo (Alberto De Martino 1973), featuring the music by Ennio Morricone and Bruno Nicolai, and Sepolta Viva (Aldo Lado, 1974) by Ennio Morricone. This album, very popular among the two composers' fans, offers two OSTs realized for excellent movies. The first, on the Excorcist (William Friedkin, 1973) trail, revisits the theme of demonic possession through the Italian cultural filter while the second, based on the homonymous novel by Marie Eugénie Saffray, is a nice historical drama, much in fashion in the early '70s. The CD is now available again in the classic CR series as a jewel case release featuring a 12-page booklet filled with Fabio Babini's liner notes and Daniele De Gemini's artwork, with mastering by Enrico De Gemini. On the cover is the original artwork, realized by Sandro Symeoni, commissioned by Franco De Gemini.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BT 130CD
|
Black Truffle presents Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah, the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (BT 086CD). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie's long-time musical hero and occasional collaborator Roscoe Mitchell. The epic closing track presents a take on Roscoe Mitchell's "Uncle," performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell's dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal. Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois' drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 130LP
|
LP version. Black Truffle presents Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah, the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (BT 086CD). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie's long-time musical hero and occasional collaborator Roscoe Mitchell. The epic closing track presents a take on Roscoe Mitchell's "Uncle," performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell's dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal. Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois' drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 131LP
|
Black Truffle presents a new edition of Kassel Jaeger's Fernweh, returning François J. Bonnet's electroacoustic project to the label five years after the acclaimed Meith. Originally released on Giuseppe Ielasi and Jennifer Veillerobe's impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet's approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O'Malley and Jim O'Rourke. A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title's meaning is close to the concept of "Wanderlust," fitting for this music that moves freely and unexpectedly between what Bonnet calls "climates." Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition -- with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar -- the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous "scenes," with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O'Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BCR 034CD
|
This is a limited-edition collection of tracks written and recorded by Neil Arthur. Archived tracks from Commercial Break (2021) and Private View (2022), Blancmange album sessions that have remained unreleased until now.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Book
|
|
9781953691224
|
Paperbound, 407 pages. "Edited by Lawrence Kumpf, Charles Curtis. Text by Éliane Radigue, Dagmar Schwerk, Daniel Sillman, Anthony Vine. A detailed look at the elusive work of a French pioneer of musique concrète and electroacoustic composition. This volume is an exploration of the early electronic work of French composer Éliane Radigue (born 1932), whose radical approach to feedback, analog synthesis and composition on tape has long evaded straightforward interpretation. Combining key texts, newly translated primary documents, in-depth interviews and commissioned essays, this compendium probes her idiosyncratic compositional practice, which both embraces and confounds the iterative nature of magnetic tape, the subtleties of amplification and the very experience of listenership. Chief among these entries is an in-depth overview by cellist Charles Curtis examining the composer's earliest experiments in feedback techniques and analog synthesis, her eventual turn to works for unamplified instruments and live performers, and her unique aesthetic of time and presence. Detailed conversations provide crucial windows into her working methods at different points in her career. Sketches for unrealized work, contemporary reviews, programs and ephemera are collected together for the first time. The anthology concludes with a roundtable discussion working out the knotty paradoxes of Radigue's continued 'ethos of resistance.'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LT 988LP
|
2025 restock; exact repro reissue. Recorded 3/4/67. Featuring Wayne Shorter (tenor sax), James Spaulding (alto sax), Freddie Hubbard (trumpet), McCoy Tyner (piano), Ron Carter (bass) and Tony Williams (drums). "Although the melody line of 'The Big Push' is rhythmically unusual, the solos by Shorter, Hubbard, Spaulding and McCoy flow in straight four. Wayne's solo entrance is arresting and wry as he playfully and creatively juggles a simple two note motif and weaves into a full blown solo. 'The Soothsayer' is a burning, delightfully descending line that engenders the kind of fire that makes Spaulding fly. He and Wayne steal the show here. Shorter launches his flight with those fragmented, punctuated lines that were a trademark of his playing in the sixties. Shorter has always been a master composer of ballads. And his tribute to Billy Holiday's 'Lady Day' is no exception. He gives an unbelievable reading that is set off by a lovely, lyrical piano solo from Tyner. A year and a half before this session, Wayne had recorded his own 'Dance Cadaverous' (on Speak No Evil) and credited the Finnish composer Jean Sibelius' 'Valse Triste' as an inspirational source point. Here he arranges Sibelius' own music for the sextet with solos from all except Williams. Coincidentally, this ensemble is VSOP with McCoy in place of Hancock and with Spaulding added. But this was no planned all-star reunion. This was merely the music of the period played unselfconsciously by the musicians who were playing it best." -- Michael Cuscuna, from the back cover.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BONF 026LP
|
Fully licensed and remastered, limited to 500 copies. Friends was the fifth album by the psych folk joint venture H&F Recordings. Also known by the title Fragile, the album was released in 1974 as a private press with a more than precarious cover. Reminiscent of Simon & Garfunkel and Buffalo Springfield vocal harmonies the record was -- in Howell & Ferdinando words -- a pure joy of creation. Finally listeners have the chance to unleash this psych pop folk masterpiece with a proper artwork and in a remastered version. Peter Howell, known for his work in Doctor Who-themed series and as a part of the BBC Radiophonic Workshop, and John Ferdinando were also behind the intriguing musical projects known as Ithaca and Agincourt. Liner notes by Peter Howell.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BRAWL 059CD
|
Lyrelyrelyre is the 11th solo album from Laura Cannell, the UK based composer, performer, and improviser. Cannell calls upon an ancient Lyre that was buried in the epic landscape of the Suffolk Coastline to sound once more. She wakes it from its 14-century long slumber and coaxes. It's shrouded sounds onto her new offering. Cannell delves deep into the history of the lyre, finding a way to bring this ancient instrument back into the landscape it once lived in and into her fold of feral chamber music. This nine-track album follows on from Cannell's 2024 release The Rituals of Hildegard Reimagined making the 12th century seem positively modern in terms of music and lifestyle. Gorse flower dreams. Playing on a copy of the 7th century Sutton Hoo Lyre she takes inspiration from its fragmented remains and the evocative landscape hidden for centuries in plain sight. The staccato of a gut strung lyre-hearpe, The hunting and battle cries of crumhorns and the sense of space evoked on bass recorder present and album with ever present sea mist. Shrouded sounds are emitted as Cannell delves deep into the history of the lyre, finding a way to bring this ancient instrument Into her musical fold and questioning, how many other instruments are buried beneath our feet?
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 039LP
|
2025 restock; LP version. The fourth full-length album by legendary German electronic music duo Cluster, originally released on Sky Records in 1976. Sowiesoso follows on from their most highly-acclaimed album, Zuckerzeit (1974). 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 Mobius, 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 four-track tape machine, two Revox A77 stereo tape-decks 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 otherworldly electronic and acoustic elements -- relaxed, organic and gentle ambience. This could only be Cluster music; its harmonies reaffirm the quality of song, in spite of eluding song structure as such.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 461CD
|
Thumbing through the back pages of German electronic music, Bureau B uncovers another hidden gem from the Sky Records archive: Inventions, the 1983 collaboration between Adelbert von Deyen and Dieter Schütz. Fusing expansive kosmische textures with biting rock guitars, motorik rhythms, and the growl of '80s synth-pop, the duo conjures a sonic singularity which still sounds like the future today. Compact yet cosmic, Inventions distils ambient drift and experimental edge into taut, three-minute pop miniatures, with the occasional longer track extending the energy without losing any of the impact. Adelbert von Deyen, a painter, graphic artist and composer, was born in 1953 in northern Germany. Inspired by Pink Floyd and the Berlin School, he began creating electronic music in the late '70s, ultimately releasing a string of solo albums on Sky Records. Dieter Schütz, born in nearby Flensburg in 1955, was a multi-instrumentalist equally at home with pastoral acoustic tones and kosmische synthesis. After stints in local rock bands and electronic experimentation in his home studio, Schütz debuted in 1981 with TransVision, followed by solo albums that further explored his unique blend of organic and synthetic elements. Their musical paths converged on the track "Earth" from von Deyen's 1982 LP Planetary, a hypnotic collision of space-bound electronics and driving rhythm. The chemistry was instant and by the following year the pair had completed a full album as a duo, Inventions, marking Schütz's first appearance on the Sky roster. With Inventions, von Deyen and Schütz found a rare middle ground between introspective electronics and wide-eyed pop, creating something strange, beautiful and beguiling which inhabits a space all of its own. Reissued here for the first time in decades, it's a thrilling rediscovery from the adventurous outer edges of early '80s German music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 461LP
|
LP version. Thumbing through the back pages of German electronic music, Bureau B uncovers another hidden gem from the Sky Records archive: Inventions, the 1983 collaboration between Adelbert von Deyen and Dieter Schütz. Fusing expansive kosmische textures with biting rock guitars, motorik rhythms, and the growl of '80s synth-pop, the duo conjures a sonic singularity which still sounds like the future today. Compact yet cosmic, Inventions distils ambient drift and experimental edge into taut, three-minute pop miniatures, with the occasional longer track extending the energy without losing any of the impact. Adelbert von Deyen, a painter, graphic artist and composer, was born in 1953 in northern Germany. Inspired by Pink Floyd and the Berlin School, he began creating electronic music in the late '70s, ultimately releasing a string of solo albums on Sky Records. Dieter Schütz, born in nearby Flensburg in 1955, was a multi-instrumentalist equally at home with pastoral acoustic tones and kosmische synthesis. After stints in local rock bands and electronic experimentation in his home studio, Schütz debuted in 1981 with TransVision, followed by solo albums that further explored his unique blend of organic and synthetic elements. Their musical paths converged on the track "Earth" from von Deyen's 1982 LP Planetary, a hypnotic collision of space-bound electronics and driving rhythm. The chemistry was instant and by the following year the pair had completed a full album as a duo, Inventions, marking Schütz's first appearance on the Sky roster. With Inventions, von Deyen and Schütz found a rare middle ground between introspective electronics and wide-eyed pop, creating something strange, beautiful and beguiling which inhabits a space all of its own. Reissued here for the first time in decades, it's a thrilling rediscovery from the adventurous outer edges of early '80s German music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 462CD
|
Bureau B once again dive into the Sky archive, unearthing another overlooked masterpiece long due for rediscovery. Originally released in 1985, Voyage finds Dieter Schütz venturing beyond his Berlin School roots into a realm of lo-fi immediacy and New Age naivety. Every instrument is played by Schütz himself, except for the drums on 'Above,' which are performed with syncopated zeal by Michael Fecker. While its textured synthscapes and wistful melodies may echo the aesthetics of 2010s Vaporwave, Voyage captured a longing for another world, not through borrowed nostalgia, but through a contemporary vision of escape. Here, Schütz's music is lush yet unpretentious, full of warmth, curiosity, and the gentle imperfections of handmade sound, his combination of organic and synthetic instruments marrying to summon faraway landscapes -- Amazonian forests, sunlit coasts, and cosmic night skies.
"Born in Flensburg in 1955, Schütz was a natural multi-instrumentalist, beginning with accordion, recorder, and acoustic guitar before moving into rock and contemporary pop. He played lead guitar in regional bands before co-founding Zest, all the while composing electronic music in his home studio. By 1981, his debut album TransVision had found a home on the pioneering Innovative Communication label, paving the way for a series of solo works on Sky Records?. The title track, 'Voyage,' perfectly encapsulates the album's essence, its drum-box bossa rhythm supporting warm, rhythmic synths and a wistful melody that balances the thrill of adventure with the quiet ache of homesickness?. Even decades later, Voyage still resonates as a unique sonic expedition, both deeply personal yet universally evocative. Schütz's gentle yet adventurous spirit permeates the album, making it a perfect soundtrack for those drawn to the horizon -- whether real, remembered, or dreamt." --Patrick Ryder
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 462LP
|
LP version. Bureau B once again dive into the Sky archive, unearthing another overlooked masterpiece long due for rediscovery. Originally released in 1985, Voyage finds Dieter Schütz venturing beyond his Berlin School roots into a realm of lo-fi immediacy and New Age naivety. Every instrument is played by Schütz himself, except for the drums on 'Above,' which are performed with syncopated zeal by Michael Fecker. While its textured synthscapes and wistful melodies may echo the aesthetics of 2010s Vaporwave, Voyage captured a longing for another world, not through borrowed nostalgia, but through a contemporary vision of escape. Here, Schütz's music is lush yet unpretentious, full of warmth, curiosity, and the gentle imperfections of handmade sound, his combination of organic and synthetic instruments marrying to summon faraway landscapes -- Amazonian forests, sunlit coasts, and cosmic night skies.
"Born in Flensburg in 1955, Schütz was a natural multi-instrumentalist, beginning with accordion, recorder, and acoustic guitar before moving into rock and contemporary pop. He played lead guitar in regional bands before co-founding Zest, all the while composing electronic music in his home studio. By 1981, his debut album TransVision had found a home on the pioneering Innovative Communication label, paving the way for a series of solo works on Sky Records?. The title track, 'Voyage,' perfectly encapsulates the album's essence, its drum-box bossa rhythm supporting warm, rhythmic synths and a wistful melody that balances the thrill of adventure with the quiet ache of homesickness?. Even decades later, Voyage still resonates as a unique sonic expedition, both deeply personal yet universally evocative. Schütz's gentle yet adventurous spirit permeates the album, making it a perfect soundtrack for those drawn to the horizon -- whether real, remembered, or dreamt." --Patrick Ryder
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 478LP
|
2025 repress; LP version. Agree to disagree: A selected Krautrock discography. Krautrock, what is it anyway? A genre, a derogative term, a song by Faust, or: a welcome (and recurring) opportunity to talk about all of this. The music associated with the term in question has eagerly been canonized. From the enthusiastic and idiosyncratic ramblings of Julian Cope's "Krautrocksampler" to encyclopedic approaches like Alan and Stephen Freeman's "Crack in the Cosmic Egg", there are plenty of books to read and lists to discuss: Who's in, who isn't? The quarrels and disputes surrounding the terms "Krautrock" and "Kosmische Musik" are a testament to their enduring relevance and fascination. The book Krautrock Eruption by Wolfgang Seidel addresses some of those questions. In this book, you will find an annotated discography of fifty albums. Out of these fifty, Bureau B are presenting an even narrower selection of tracks from twelve albums on this compilation. Lists and compilation track listings inevitably see tracks missing and being left out. The list is meant to inspire repeated or further listening, to spark discussions and -- potentially -- to provoke new lists, perhaps your own! It's all part of the fun. Music is made for enjoyment in the first and for friendly debate in the second place, after all. Featuring Conrad Schnitzler, Eno Moebius Roedelius, Harald Grosskopf, Cluster, Moebius & Plank, Roedelius, Pyrolator, Riechmann, Kluster, Günter Schickert, and Asmus Tietchens.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 047CS
|
2025 reprint. Floating Frequencies/Intuitive Synthesis Volume I was originally released in 2006. This 2019 cassette edition was remastered by Eleh.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 048CS
|
2025 reprint. Floating Frequencies/Intuitive Synthesis Volume II was originally released in 2007. 2019 tape remaster. Eleh's Floating Frequencies/Intuitive Synthesis Volume II requires dedicated and careful listening. "Black Mountain 1933" is a detailed account of the emerging frequencies resulting from the carefully crafted meeting of seven sine waves. "Pulsing Study Of 7 Sine Waves Part One & Two" focus on deep bass pulses being slowly modulated by frequencies well below the level of human hearing.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 049CS
|
2025 reprint. Floating Frequencies/Intuitive Synthesis Volume III was originally released in 2008. This 2019 cassette edition was remastered by Eleh. Pure tone, pure sound, pure analog. Dedicated to Pauline Oliveros.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 050CS
|
2025 reprint. Floating Frequencies/Intuitive Synthesis IV contains two new pieces from Eleh, each over 40 minutes long.
|
viewing 1 To 25 of 108 items
Next >>
|
|