thomas brinkmann / oren ambarchi “the mortimer trap” compact disc

• the mortimer trap (77:45)

black truffle press release...

thomas brinkmann & oren ambarchi the mortimer trap label: black truffle format: cd catalogue number: bt06 release date: 2/14/2012 the mortimer trap is an epic, 77-minute "variation" of morton feldman's for bunita marcus, constructed by german experimentalist and techno icon thomas brinkmann and australian sound artist oren ambarchi. pulsating waves of claustrophobic ambience generated from who-knows-what patiently builds into a throbbing, rhythmic pulse of gorgeous sonic density. since the '80s, thomas brinkmann has experimented with sound, its textures and its construction methods. his custom-built two-arm turntable on concept 1, the sampling of damaged records on klick and various experiments with carved-groove vinyl are just a handful of career highlights that mark brinkmann out as a true musical pioneer. oren ambarchi, primarily known for his solo guitar records for the touch label, has worked with a diverse array of artists such as keiji haino, fennesz, phill niblock, jim o'rourke, voice crack, keith rowe and sunn 0))). ambarchi and brinkmann first worked together in japan in january 2011 in a trio with mika vainio. the mortimer trap is their first collaborative work as a duo.

oren ambarchi / fennesz / pimmon / peter rehberg / keith rowe “afternoon tea” compact disc

• afternoon tea 1 (19:15)
  
• afternoon tea 2 (24:37)
  
• no title (3:33)
  
• live tea 1 (12:44)
  
• live tea 2 (8:27)

black truffle press release...

ambarchi / fennesz / pimmon / rehberg / rowe afternoon tea label: black truffle format: cd catalogue number: bt03 who would have thought a relaxed sunny afternoon, newfound friendships and some spur-of-the-moment would have resulted in what’s been described as ’one of the most compelling documents of both free improvisation and electronica’ (all music guide) ? it’s the people involved in ’afternoon tea’ - originally released in 2000 on german label ritornell and now reissued on black truffle with a new master, bonus tracks and newly discovered live recordings after years of being out of print - that ensured it as more than a happy accident. the twin guitar presence of amm’s keith rowe and oren ambarchi and kindred spirits of the laptop - sydney’s pimmon, vienna’s christian fennesz and peter rehberg - made it a momentous day. with all the players coming together during the 2000 what is music? festival, ’afternoon tea’ stands as a highpoint of the then-emerging intersection between powerbook performance and guitar improvisation. all subtlety, nuance and detail, it is a revelation of restraint. built on a steadying flow of burbling rhythm, the quintet slowly weave around each others’ sonics in layers to create a tonal palette immersive in its atmosphere and magnetic in its compulsion. hindsight clearly reveals the heart of these pieces - important to note considering they were recorded at a time when laptop performance was an alien concept to many in experimental music, suffering controversy and backlash as well as an over-abundance of pale approaches from many who took it on as novelty as opposed to serious musical pursuit. those involved in the 'afternoon tea' session left their australian tour inspired, citing their merry time in the country eating, drinking and hanging out at the beach as well as their performances as a direct influence on their following work. many great live recordings were spawned from the tour itself including rehberg & bauer's 'passt', fennesz' 'live at revolver' (both on touch) and a collaboration between him and new zealand's rosy parlane (released on synaesthesia). additionally the seeds were sown for the fennesz classic 'endless summer' from 2001 (mego). ’afternoon tea’ remains one of the quiet and real achievers for experimental music of the past decade. remastered in may 2009 and with artwork designed by stephen o'malley.

oren ambarchi “stacte.3” compact disc

• stacte.3a (14:15)
  
• stacte.3b (22:41)

black truffle press release...

oren ambarchi stacte.3 label: black truffle format: cd catalogue number: bt01 originally released in 2000 as a limited vinyl only album, 'stacte.3' is now available on cd for the first time. described by wire scribe jon dale as "alvin lucier and cluster collaborating for mego", the concept of oren ambarchi's 'stacte' lp series - now comprising of five volumes - began in 1998. the first few 'stacte' lps were self-released by ambarchi and featured his earliest explorations of the guitar and its sonic possibilities after a period known as a drummer in post-punk, noise and free jazz outfits. an idea was explored and investigated at length using a spontaneous approach, with ambarchi treating each side of the vinyl like a canvas, slowly capturing a moment, patiently teasing every nuance and implication from each texture. his method allowed the listener to sink their teeth into something substantial over the course of the lp side's entire duration, resulting in an otherworldly, cumulative impact of patiently unfolding compositions. the 'stacte.3' release (especially the lp's second side) was a breakthrough for ambarchi and it defined the parameters for his subsequent projects such as 2001's 'suspension' and 'grapes from the estate' from 2004, both released on the legendary uk label touch. 'stacte.3' is an early glimpse of ambarchi at his most raw and minimal and it's a fascinating, integral listen in his catalogue of sound works. remastered in december 2008 and with artwork designed by stephen o'malley.

conrad schnitzler “con 3” long playing record

• kohlen
  
• nächte in kreuzberg
  
• hongkong
  
• komm mit nach berlin
  
• wer sind wir denn
  
  
• coca
  
• seemannslied
  
• das tier
  
• tanze im regen

bureau b press release...

conrad schnitzler con 3 reissue (originally released in 1981 on sky 061) vinyl (180g) release date: october 19, 2012 this album saw schnitzler head further in the direction of pop music. like “consequenz”, “con 3” is a collaborative effort with wolfgang seidel, alias sequenza. “con 3” is a really odd mixture of numerous ingredients which schnitzler was capable of combining with dexterity and taste. his musical handwriting is immediately apparent in the foreground. effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever – this is schnitzler alright, this is his musical utopia. then wolfgang seidel, formerly drummer with ton, steine, scherben: an ideal partner for schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. another ingredient in “con 3” is undoubtedly german new wave (neue deutsche welle, ndw). how could it not have touched schnitzler? he lived and worked in berlin! above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of ndw. in this respect, schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. the fourth component of “con 3” is without question the character in the background, peter baumann. as producer and sound engineer, he was to schnitzler what conny plank had been for cluster and harmonia and many others. his gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his paragon studio. years of working with tangerine dream honed his studio experience and his intuitive flair for electronic experiments. those like schnitzler who were able to work in the paragon studio were in exceptionally good hands. there could hardly be a more fertile alliance. “con 3” might have sounded rather disconcerting to schnitzler listeners at the time. he had long since nailed his colours to the mast of the art scene (fluxus, beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. not for the first time, perhaps, but particularly emphatically on this album. many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. not schnitzler. he remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music. - asmus tietchens

conrad schnitzler “con 3” compact disc

• kohlen (3:40)
  
• nächte in kreuzberg (4:46)
  
• hongkong (5:25)
  
• komm mit nach berlin (3:07)
  
• wer sind wir denn (vocal gilli & gregor) (3:48)
  
• coca (4:37)
  
• seemannslied (3:28)
  
• das tier (3:56)
  
• tanze im regen (4:49)
  
• con 3.1 (3:59)
  
• con 3.2 (2:45)
  
• con 3.3 (3:37)
  
• con 3.4 (3:47)
  
• seemannslied (alternative mix) (5:58)
  
• wer sind wir denn (alternative mix) (5:44)

bureau b press release...

conrad schnitzler con 3 reissue (originally released in 1981 on sky 061) cd release date: october 19, 2012 this album saw schnitzler head further in the direction of pop music. like “consequenz”, “con 3” is a collaborative effort with wolfgang seidel, alias sequenza. “con 3” is a really odd mixture of numerous ingredients which schnitzler was capable of combining with dexterity and taste. his musical handwriting is immediately apparent in the foreground. effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever – this is schnitzler alright, this is his musical utopia. then wolfgang seidel, formerly drummer with ton, steine, scherben: an ideal partner for schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. another ingredient in “con 3” is undoubtedly german new wave (neue deutsche welle, ndw). how could it not have touched schnitzler? he lived and worked in berlin! above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of ndw. in this respect, schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. the fourth component of “con 3” is without question the character in the background, peter baumann. as producer and sound engineer, he was to schnitzler what conny plank had been for cluster and harmonia and many others. his gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his paragon studio. years of working with tangerine dream honed his studio experience and his intuitive flair for electronic experiments. those like schnitzler who were able to work in the paragon studio were in exceptionally good hands. there could hardly be a more fertile alliance. “con 3” might have sounded rather disconcerting to schnitzler listeners at the time. he had long since nailed his colours to the mast of the art scene (fluxus, beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. not for the first time, perhaps, but particularly emphatically on this album. many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. not schnitzler. he remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music. - asmus tietchens

conrad schnitzler “consequenz” long playing record

• fata morgana
  
• weiter
  
• tape5
  
• bilgenratte
  
• afghanistan
  
• lügen haben kurze beine
  
  
• nächte in kreuzberg
  
• humpf
  
• ms-477
  
• pendel
  
• wer geht da?
  
• copacabana

bureau b press release...

conrad schnitzler consequenz reissue (opriginally released in 1980 on ks 1004) vinyl (180g) release date: october 19, 2012 commercial schnitzler? how quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. schnitzler fell under such a cloud when, after 1978 his songs, for a time at least, did not exceed the catchy compactness of pop songs, whilst their harmonies and rhythms seemed to be drifting towards pop. produced by peter baumann (tangerine dream) the “con” (1978) album and the “auf dem schwarzen kanal” 12 inch ep (1980) ushered in this phase, and the private release of the "consequenz" album, also in 1980 – as the title suggests – was the logical consequence. "consequenz" is schnitzler’s first collaboration with another musician since the days of kluster long before. in wolfgang seidel, a.k.a. wolf sequenza, he found someone who not only understood the “schnitzler" principle but was able to expand on it with his own input. seidel, like schnitzler, had started early with the development of an alternative language of music, away from the mainstream. schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with "consequenz", illustrating in detail how his music “functions”, which instruments and equipment he used and how the various elements are interconnected. it is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. "consequenz" conveys twelve remarkably short pieces. remarkable in the sense that schnitzler’s early solo works (e.g. “rot” and “blau”) were characterized by unending sequences. not only are the tracks even shorter than on “con” (1978), their form has also shifted. electronic drums can be heard, along with an electric guitar in places; schnitzler and seidel sculpt rhythmic-harmonic structures with an analogue sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. the influence of the german new wave (ndw) may also be detected, but not enough to determine the style of "consequenz". the dozen tracks on the album remain firmly rooted in schnitzler's sonic universe, each an individual facet of his infinitely shimmering aural cascades. and, naturally, “consequenz” is electronic pop music, lacking only the commercial added value which was of little interest to schnitzler anyway – he didn’t give a damn. asmus tietchens

conrad schnitzler “consequenz” compact disc

• fata morgana (5:14)
  
• weiter (4:20)
  
• tape 5 (3:37)
  
• bilgenratte (2:34)
  
• afghanistan (5:31)
  
• lugen haben kurze beine (3:34)
  
• nachte in kreuzberg (3:48)
  
• humpf (2:52)
  
• m5-477 (4:39)
  
• pendel (4:17)
  
• wer geht da? (3:47)
  
• copacabana (5:17)
  
  
• bonus 1 (10:03)
  
• bonus 2 (8:25)

bureau b press release...

conrad schnitzler consequenz reissue (originally released in 1980 on ks 1004) cd release date: october 19, 2012 commercial schnitzler? how quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. schnitzler fell under such a cloud when, after 1978 his songs, for a time at least, did not exceed the catchy compactness of pop songs, whilst their harmonies and rhythms seemed to be drifting towards pop. produced by peter baumann (tangerine dream) the “con” (1978) album and the “auf dem schwarzen kanal” 12 inch ep (1980) ushered in this phase, and the private release of the "consequenz" album, also in 1980 – as the title suggests – was the logical consequence. "consequenz" is schnitzler’s first collaboration with another musician since the days of kluster long before. in wolfgang seidel, a.k.a. wolf sequenza, he found someone who not only understood the “schnitzler" principle but was able to expand on it with his own input. seidel, like schnitzler, had started early with the development of an alternative language of music, away from the mainstream. schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with "consequenz", illustrating in detail how his music “functions”, which instruments and equipment he used and how the various elements are interconnected. it is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. "consequenz" conveys twelve remarkably short pieces. remarkable in the sense that schnitzler’s early solo works (e.g. “rot” and “blau”) were characterized by unending sequences. not only are the tracks even shorter than on “con” (1978), their form has also shifted. electronic drums can be heard, along with an electric guitar in places; schnitzler and seidel sculpt rhythmic-harmonic structures with an analogue sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. the influence of the german new wave (ndw) may also be detected, but not enough to determine the style of "consequenz". the dozen tracks on the album remain firmly rooted in schnitzler's sonic universe, each an individual facet of his infinitely shimmering aural cascades. and, naturally, “consequenz” is electronic pop music, lacking only the commercial added value which was of little interest to schnitzler anyway – he didn’t give a damn. asmus tietchens

dieter moebius / conrad plank “en route” long playing record

• automatic (5:17)
  
• don’t point the bone (5:03)
  
• drum! (2:39)
  
• echaos (3:26)
  
• muffler a (4:45)
  
• pick the rubber (4:33)
  
  
• the truth? (3:28)
  
• prehistoric (2:37)
  
• die wirren (3:26)
  
• muffler b (2:25)
  
• don’t point the bone (remix) (5:10)
  
• automatic (remix) (4:22)
  
• prehistoric (remix) (5:39)

bureau b press release...

moebius & plank en route reissue (recorded in 1986, originally released in 1995) lp release date: september 28, 2012 “en route” was created in 1986, when the era of analogue synths and rhythm machines seemed to be drawing to a close. drum computers, samplers and digital instruments such as the synclavier and fairlight cms would shape the immediate future of electronic music. naturally, these wonderful machines formed a part of plank’s arsenal and were used extensively by him and moebius. the duo explored the new devices with their inimitable, cheerful sense of abandon, but were wise enough not to rely on them entirely. analogue instruments resurface time and again, such as trumpet (!), guitar and other sonic sources which are less easy to identify. nor had moebius packed his analogue synthesizers away in mothballs. rhythmic throughout, the music is wholly free of the darkness which characterized the fashionable industrial or new wave scenes of the period. a tendency to descend into enraptured sonic abstraction is similarly absent. the pieces almost sound as if they are the product of real-time improvisation – airy and self-evident, ballast-free of and without unnecessary embellishment. moebius and plank must have had so much fun during the recording sessions! “en route“ is hip electronic music, yet it steers well clear of the mainstream. the fact that three tracks were remixed for a commission by dave stewart (eurythmics) did nothing to change that. stewart was planning a film project (which never came to fruition) and hired producer manu guiot, who reshaped the tracks together with dieter moebius shortly before release in conny's studio. moebius and plank were en route, “on the way" so to speak. a damned fine way at that. sadly, “en route” was to be the last in a sequence of five albums they recorded and released together. conceived in 1983, “ludwig’s law” was the fourth album in chronological terms but only appeared in 1998, three years after “en route”. debilitated by severe illness, plank was no longer able to mix the recordings himself. his studio colleague bruno gebhard took on the task, together with moebius. shortly afterwards, in 1987, conny plank died. the common path of the two friends was now at an end. but “en route” was certainly not intended to mark the conclusion of their lengthy collaboration. for how much of the future, how much optimism were implicit in the certitude of being en route? - asmus tietchens

dieter moebius / conrad plank “en route” compact disc

• automatic (5:17)
  
• don’t point the bone (5:03)
  
• drum! (4:47)
  
• echaos (3:26)
  
• muffler a (4:45)
  
• pick the rubber (4:33)
  
• the truth? (3:28)
  
• prehistoric (2:37)
  
• die wirren (3:26)
  
• muffler b (2:25)
  
• don’t panic the bone (remix) (5:10)
  
• automatic (remix) (4:22)
  
• prehistoric (remix) (5:39)

bureau b press release...

moebius & plank en route reissue (recorded in 1986, originally released in 1995) cd release date: september 28, 2012 “en route” was created in 1986, when the era of analogue synths and rhythm machines seemed to be drawing to a close. drum computers, samplers and digital instruments such as the synclavier and fairlight cms would shape the immediate future of electronic music. naturally, these wonderful machines formed a part of plank’s arsenal and were used extensively by him and moebius. the duo explored the new devices with their inimitable, cheerful sense of abandon, but were wise enough not to rely on them entirely. analogue instruments resurface time and again, such as trumpet (!), guitar and other sonic sources which are less easy to identify. nor had moebius packed his analogue synthesizers away in mothballs. rhythmic throughout, the music is wholly free of the darkness which characterized the fashionable industrial or new wave scenes of the period. a tendency to descend into enraptured sonic abstraction is similarly absent. the pieces almost sound as if they are the product of real-time improvisation – airy and self-evident, ballast-free of and without unnecessary embellishment. moebius and plank must have had so much fun during the recording sessions! “en route“ is hip electronic music, yet it steers well clear of the mainstream. the fact that three tracks were remixed for a commission by dave stewart (eurythmics) did nothing to change that. stewart was planning a film project (which never came to fruition) and hired producer manu guiot, who reshaped the tracks together with dieter moebius shortly before release in conny's studio. moebius and plank were en route, “on the way" so to speak. a damned fine way at that. sadly, “en route” was to be the last in a sequence of five albums they recorded and released together. conceived in 1983, “ludwig’s law” was the fourth album in chronological terms but only appeared in 1998, three years after “en route”. debilitated by severe illness, plank was no longer able to mix the recordings himself. his studio colleague bruno gebhard took on the task, together with moebius. shortly afterwards, in 1987, conny plank died. the common path of the two friends was now at an end. but “en route” was certainly not intended to mark the conclusion of their lengthy collaboration. for how much of the future, how much optimism were implicit in the certitude of being en route? - asmus tietchens

kluster “schwarz (eruption)” long playing record

• eruption 1 (31:04)
  
  
• eruption 2 (25:30)

bureau b press release...

kluster schwarz (eruption) reissue (originally released in 1971) lp (180g vinyl) release date: november 16, 2012 the official konrad schnitzler discography lists “eruption”, released in 1971 under the title “schwarz” (catalogue number ks 1001), as the first schnitzler album. in actual fact, “eruption” is the third and final lp by the group kluster, following “klopfzeichen” and “zwei osterei”. the line- up printed on the labels leaves no room for doubt. unlike the two previous albums, “eruption” was not issued by the schwann verlag, but by the band on its own, hence the task of financing the record fell to the participants. roedelius and moebius, however, were either unable or unwilling to get involved in this risky business. without further ado, schnitzler decided to cover the cost of pressing up 200 lps which he would bring out under his own name. this historical “error" has now been corrected: “eruption” is a kluster album. seen alongside “klopfzeichen” and “zwei osterei”, “eruption” is a different beast altogether. the total absence of lyrics, to begin with; the music is music, nothing more. the listener revels in a pure symphony of sound, its dramatic artistry holding his attention until the very end. and that is the second major difference to the first two lps. whereas their furious intensity sounded almost brutally improvised, “eruption” appears clearly structured throughout, musical freedoms notwithstanding. kluster take their time in developing spontaneous ideas here, they get loud and then, for lengthier periods, go quiet, suggesting at times a sense of absolute emptiness, followed by outbreaks of dark anger. the possibilities opened up by live electronics were thrillingly exploited to the limit. and yet there is undeniably a method in the music. in the course of their many live concerts, kluster had learned to use instruments and electronics constructively, reaching the zenith of their musical powers of expression on “eruption”. kluster disbanded after “eruption”. the album is a revealing document of a band striving to stretch the musical spectrum during the early 1970s, and indeed how capable they were of doing so. moebius and roedelius went on working together as cluster, and conrad schnitzler (now with a c) began developing his own vision of electronic music, a project he continued assiduously until his death (2011). still, all three had their roots in kluster – incredibly powerful roots. and kluster have never ceased to be hugely fertile ground. may their creative inspiration never run dry.

kluster “zwei osterei” long playing record

• electric music und texte (22:31)
  
  
• electric music (kluster 4) (22:17)

bureau b press release...

kluster zwei osterei reissue (originally released in 1971) lp (180g vinyl) release date: june 29, 2012 zwei osterei is the second half of a recording session which took place on a single day in november 1970. klopfzeichen is the first part. yet the uncompromising zwei osterei surpasses the earlier klopfzeichen album by some distance in terms of its harsh noisiness and near brutal sonic attacks. everything that was left of the revolutionary verve of the late 1960s seems to have been distilled into this music with a burning glass: aesthetic destruction to liberate the mind and ears for utopian designs; the definitive coalescence of art and pop into something completely new; unbridled musical freedom, coupled with a love of noise. zwei osterei is all of this. how unsettling kluster’s music must have been for the professional avant-garde of the period (music journalists, critics etc.). kluster turned pretty much everything associated with so-called progressive pop music on its head. no song structure, no rhythm, little more than muffled pulsation. no heroic poses, no transfigured gestures on stage. this attitude, or rather anti-attitude is particularly in evidence on track two of zwei osterei. still no electronic instruments, just guitar, drums and non-musical sonic sources as kluster unleash a sound spectacle which anticipates the industrial artists who emerged some years later. conny plank played a pivotal role as sound engineer with the relatively limited studio equipment available to him. his meticulous reading of the band’s intentions let to the creation of pure, electroacoustic music – loud, violent, real-time improvisation. shrill feedback, tape echo loops and layers of sonic cascades dominate this section of the album. this was no longer psychedelic, nor “progressive”. it was more like sonic warfare, waged against all musical categories and conventions. many a listener posed the rather helpless question “what is that supposed to be?”... art? music? a happening? according to statements made by the band, none of the above. it was simply kluster. a lofty, nigh exclusive claim which “zwei osterei” fulfills one hundred per cent. translated, the statement is nothing more nor less than a challenge to ignore the accumulated theory of art and music, with all the risks and side effects this entails. back in 1970, kluster could not have known that they were setting in motion a process which would endure until the present day. but they no doubt hoped as much. kluster are history, the klopfzeichen and zwei osterei lps their legacy. and above all, an idea of artistic freedom has remained, worlds away from commerce and public servility. even if the concept of “utopia” has lost something of its former allure, kluster can at least be a catalyst for those who may wish to entertain the idea once again.

kluster “zwei osterei” compact disc

• electric music und texte (22:31)
  
• electric music (kluster 4) (22:17)

bureau b press release...

kluster zwei osterei reissue (originally released in 1971) cd release date: june 29, 2012 zwei osterei is the second half of a recording session which took place on a single day in november 1970. klopfzeichen is the first part. yet the uncompromising zwei osterei surpasses the earlier klopfzeichen album by some distance in terms of its harsh noisiness and near brutal sonic attacks. everything that was left of the revolutionary verve of the late 1960s seems to have been distilled into this music with a burning glass: aesthetic destruction to liberate the mind and ears for utopian designs; the definitive coalescence of art and pop into something completely new; unbridled musical freedom, coupled with a love of noise. zwei osterei is all of this. how unsettling kluster’s music must have been for the professional avant-garde of the period (music journalists, critics etc.). kluster turned pretty much everything associated with so-called progressive pop music on its head. no song structure, no rhythm, little more than muffled pulsation. no heroic poses, no transfigured gestures on stage. this attitude, or rather anti-attitude is particularly in evidence on track two of zwei osterei. still no electronic instruments, just guitar, drums and non-musical sonic sources as kluster unleash a sound spectacle which anticipates the industrial artists who emerged some years later. conny plank played a pivotal role as sound engineer with the relatively limited studio equipment available to him. his meticulous reading of the band’s intentions let to the creation of pure, electroacoustic music – loud, violent, real-time improvisation. shrill feedback, tape echo loops and layers of sonic cascades dominate this section of the album. this was no longer psychedelic, nor “progressive”. it was more like sonic warfare, waged against all musical categories and conventions. many a listener posed the rather helpless question “what is that supposed to be?”... art? music? a happening? according to statements made by the band, none of the above. it was simply kluster. a lofty, nigh exclusive claim which “zwei osterei” fulfills one hundred per cent. translated, the statement is nothing more nor less than a challenge to ignore the accumulated theory of art and music, with all the risks and side effects this entails. back in 1970, kluster could not have known that they were setting in motion a process which would endure until the present day. but they no doubt hoped as much. kluster are history, the klopfzeichen and zwei osterei lps their legacy. and above all, an idea of artistic freedom has remained, worlds away from commerce and public servility. even if the concept of “utopia” has lost something of its former allure, kluster can at least be a catalyst for those who may wish to entertain the idea once again.

kluster “klopfzeichen” long playing record

• kluster 1 (electric music und texte) (23:33)
  
  
• kluster 2 (electric music) (21:38)

bureau b press release...

kluster klopfzeichen reissue (originally released in 1970) lp (180g vinyl) release date: june 29, 2012 imagine finding a message in a bottle, forty years after it was dispatched. that is what it feels like when you listen to klopfzeichen for the first time, mysterious, hard to decipher, a relic of a time long since passed. the handwriting is archaic, barely legible, the complex contents only falling into place when examined through the light of historical context. klopfzeichen is an incredibly important release for the time in which it appeared (1971), an extraordinarily significant document. more than anything, the three messengers konrad schnitzler, hans-joachim roedelius and dieter moebius formulated a radical claim with klopfzeichen: anarchic, unlimited freedom of art and music. kluster’s music may have aged, but their message has not. that the recording session happened at all is, curiously enough, down to a church musician, a man one would then have described as extremely progressive. oskar gottlieb blarr not only made it possible for these musical enfants terribles to work in düsseldorf’s rhenus studio, he also orchestrated the release of klopfzeichen shortly afterwards through the schwann verlag, a publisher closely associated with the church, on their own record label, ams studio (subtitled “werkraum für neue kirchenmusik” / workspace for new church music!). this “ecclesiastical” affinity is probably the reason for the strongly committed political and religious texts spoken over the music on the a side. kluster lyrics they are not, and they sound a little strange today. true to their understanding of artistic freedom (joseph beuys was undoubtedly an influence), kluster improvised with all sources of sound they could lay their hands on: guitar, bass, cello, flute, drums and various other pieces of equipment not usually intended for musical use. none of them could profess to be an expert on any of the instruments. they were brilliant dilettantes, a decade before the concept („geniale dilettanten“) was invented. electronics? no sign of them. the budget did not stretch to synthesizers or anything of that ilk. that said, a certain conny plank was on board as sound engineer for the early recordings. he added an apocalyptic character to kluster’s lindwormish, menacing and chaotic music. roedelius and moebius still refer to him as the “éminence grise”. klopfzeichen was the most radical album of the early german pop music avant-garde by a country mile. its sounds and noises had nothing in common with the sequencer-generated electronic music emerging from berlin or düsseldorf. kluster music was angstmusik, the music of fear. “klopfzeichen”, knocking on the wall, is how the imprisoned call for attention or communicate with one another. kluster certainly wanted to break free with their own klopfzeichen. and they succeeded in liberating not only themselves, but generations of musicians to come.

kluster “klopfzeichen” compact disc

• kluster 1 (electric music und texte) (23:33)
  
• kluster 2 (electric music) (21:38)

bureau b press release...

kluster klopfzeichen reissue (originally released in 1970) cd release date: june 29, 2012 imagine finding a message in a bottle, forty years after it was dispatched. that is what it feels like when you listen to klopfzeichen for the first time, mysterious, hard to decipher, a relic of a time long since passed. the handwriting is archaic, barely legible, the complex contents only falling into place when examined through the light of historical context. klopfzeichen is an incredibly important release for the time in which it appeared (1971), an extraordinarily significant document. more than anything, the three messengers konrad schnitzler, hans-joachim roedelius and dieter moebius formulated a radical claim with klopfzeichen: anarchic, unlimited freedom of art and music. kluster’s music may have aged, but their message has not. that the recording session happened at all is, curiously enough, down to a church musician, a man one would then have described as extremely progressive. oskar gottlieb blarr not only made it possible for these musical enfants terribles to work in düsseldorf’s rhenus studio, he also orchestrated the release of klopfzeichen shortly afterwards through the schwann verlag, a publisher closely associated with the church, on their own record label, ams studio (subtitled “werkraum für neue kirchenmusik” / workspace for new church music!). this “ecclesiastical” affinity is probably the reason for the strongly committed political and religious texts spoken over the music on the a side. kluster lyrics they are not, and they sound a little strange today. true to their understanding of artistic freedom (joseph beuys was undoubtedly an influence), kluster improvised with all sources of sound they could lay their hands on: guitar, bass, cello, flute, drums and various other pieces of equipment not usually intended for musical use. none of them could profess to be an expert on any of the instruments. they were brilliant dilettantes, a decade before the concept („geniale dilettanten“) was invented. electronics? no sign of them. the budget did not stretch to synthesizers or anything of that ilk. that said, a certain conny plank was on board as sound engineer for the early recordings. he added an apocalyptic character to kluster’s lindwormish, menacing and chaotic music. roedelius and moebius still refer to him as the “éminence grise”. klopfzeichen was the most radical album of the early german pop music avant-garde by a country mile. its sounds and noises had nothing in common with the sequencer-generated electronic music emerging from berlin or düsseldorf. kluster music was angstmusik, the music of fear. “klopfzeichen”, knocking on the wall, is how the imprisoned call for attention or communicate with one another. kluster certainly wanted to break free with their own klopfzeichen. and they succeeded in liberating not only themselves, but generations of musicians to come.

dieter moebius / asmus tietchens “moebius + tietchens” long playing record and compact disc set

• cremon
  
• kattrepel
  
• vincent
  
• thorax
  
• yes, yes
  
• fontenay
  
  
• lange reihe
  
• raboisen
  
• im windkanal
  
• grimm
  
• herrlichkeit
  
• plan
  
• mach auf!
  
  
• cremon (2:23)
  
• kattrepel (9:56)
  
• vincent (3:43)
  
• thorax (3:56)
  
• yes, yes (5:41)
  
• fontenay (2:57)
  
• lange reihe (10:32)
  
• raboisen (3:39)
  
• im windkanal (2:41)
  
• grimm (4:22)
  
• herrlichkeit (2:17)
  
• plan (4:02)
  
• mach auf! (2:33)

bureau b press release...

moebius + tietchens lp (180g vinyl) plus cd release date: june 29th, 2012 with this album, dieter moebius and asmus tietchens fulfill a promise that they made 35 years ago. that is, in 1976, when the five musicians of liliental completed the recordings for their eponymous album (released 1978) and again scattered to the winds, moebius called out to tietchens from the already moving car: "we have to make a record together sometime." at least that is the report of an ear-witness. whether or not it's true ... in any case, both decided in 2011 to record the album which is now to be released. moebius (cluster, harmonia), since the early years of cluster, has neither lost his curiosity nor his eagerness for experimentation. on the contrary: he has downright cultivated them. tietchens is not only a true aficionado of the cluster's music and friend of the duo, but has also released countless albums of electronic music and musique concrète since the 1980's – like cluster, initially on sky records – then later only in the field of industrial and abstract music. their album may come from out of the blue, but the large amount of overlap in the music of both artists made it a forgone conclusion to finally make good on the aforementioned promise. thirteen pieces carries the album. these are thirteen ideas that could hardly be heterogeneous – no two pieces are similar. moebius and tietchens show us what they are capable of together. from the rough sketch to densely gripping rhythms, one can clearly hear just what these two old masters of electronic music have in their arsenals. this is not a result of the routine that comes with so many years of experience, nor a thin portion of tired old recipes for success. other than for a few faint echoes of a bygone era (perhaps as a sentimental reminder), “moebius+tietchens“ is an album that could only emerge from the here and now. it is contemporary, new music. unfortunately, this time there was no ear-witness as moebius and tietchens said goodbye after finishing these recordings. so we do not know if they made a new agreement similar to the one from 35 years ago. let's hope so.

dieter moebius / asmus tietchens “moebius + tietchens” compact disc

• cremon (2:23)
  
• kattrepel (9:56)
  
• vincent (3:43)
  
• thorax (3:56)
  
• yes, yes (5:41)
  
• fontenay (2:57)
  
• lange reihe (10:32)
  
• raboisen (3:39)
  
• im windkanal (2:41)
  
• grimm (4:22)
  
• herrlichkeit (2:17)
  
• plan (4:02)
  
• mach auf! (2:33)

bureau b press release...

moebius + tietchens cd release date: june 29th, 2012 with this album, dieter moebius and asmus tietchens fulfill a promise that they made 35 years ago. that is, in 1976, when the five musicians of liliental completed the recordings for their eponymous album (released 1978) and again scattered to the winds, moebius called out to tietchens from the already moving car: "we have to make a record together sometime." at least that is the report of an ear-witness. whether or not it's true ... in any case, both decided in 2011 to record the album which is now to be released. moebius (cluster, harmonia), since the early years of cluster, has neither lost his curiosity nor his eagerness for experimentation. on the contrary: he has downright cultivated them. tietchens is not only a true aficionado of the cluster's music and friend of the duo, but has also released countless albums of electronic music and musique concrète since the 1980's – like cluster, initially on sky records – then later only in the field of industrial and abstract music. their album may come from out of the blue, but the large amount of overlap in the music of both artists made it a forgone conclusion to finally make good on the aforementioned promise. thirteen pieces carries the album. these are thirteen ideas that could hardly be heterogeneous – no two pieces are similar. moebius and tietchens show us what they are capable of together. from the rough sketch to densely gripping rhythms, one can clearly hear just what these two old masters of electronic music have in their arsenals. this is not a result of the routine that comes with so many years of experience, nor a thin portion of tired old recipes for success. other than for a few faint echoes of a bygone era (perhaps as a sentimental reminder), “moebius+tietchens“ is an album that could only emerge from the here and now. it is contemporary, new music. unfortunately, this time there was no ear-witness as moebius and tietchens said goodbye after finishing these recordings. so we do not know if they made a new agreement similar to the one from 35 years ago. let's hope so.

der plan “normalette surprise • 23 elektronische schlager” long playing record

• leb doch
  
• renate
  
• meine freunde
  
• sie hat mich verlassen
  
• pausen-sassa
  
• wenn der sonne ist verblüht
  
• kleine schlager-revue
  
• frl. nicol
  
• ich bin ein komputer
  
• robot-bolero
  
• generäle essen gerne erdbeereis
  
• das insekt
  
  
• wat's dat?
  
• 4 stapfen im schnee
  
• zurück in die atomsphäre

bureau b press release...

der plan normalette surprise reissue (originally released in 1981) lp (180g vinyl) release date: july 27, 2012 1980 the zeitgeist played into the right hands. and who held the aces? in our game, moritz r, frank fenstermacher and pyrolator = der plan. tired of convention and full of enthusiasm, they encountered an audience who felt just the same. and with record companies too ponderous to sign up der plan, the wonderful ata tak label was born of necessity. “normalette surprise” is the second album by der plan, released in 1981, a good year after their “geri reig” debut. it is immediately recognisable as a plan album, yet “normalette surprise” does contain a few, well, surprises. the first number, “leb doch”, is a brilliant pop song. one can say many (good) things about “geri reig”, but it does not contain any pop songs. “leb doch” is built on a captivatingly taut rhythm, subcooled vocals and german lyrics. hang on a minute, taut rhythm, subcooled vocals, german lyrics? yes exactly, der plan drew up the blueprint for what would soon become known as “neue deutsche welle”—the german new wave. although blueprint sounds a little too benign. it was more like a big bang. moreover, there was something new about it. or rather something old. bizarrely, der plan were introduced by their american artist friends, including the controversial elocutionist boyd rice, into the amazing world of the german schlager. a colourful universe of the absurd awaited exploration. “kleine schlager-revue” and "sie hat mich verlassen" are the clearest indications of this newfound passion on “normalette surprise”. hence “normalette surprise” presents the full range of attributes which would define der plan and the ata tak label: electronics and schlager, noise and pop. and der plan's protagonists succeeded — unlike so many — in their mission of creating something original, something of their own.

der plan “normalette surprise • 23 elektronische schlager” compact disc

• leb doch
  
• renate
  
• meine freunde
  
• sie hat mich verlassen
  
• pausen-sassa
  
• wenn der sonne ist verblüht
  
• kleine schlager-revue
  
• frl. nicol
  
• ich bin ein komputer
  
• robot-bolero
  
• generäle essen gerne erdbeereis 12. das insekt
  
• wat's dat?
  
• 4 stapfen im schnee
  
• zurück in die atomsphäre
  
  
• da vorne steht ne ampel
  
• rot grün tod
  
• einfachheit
  
• brot
  
• klarheit
  
• liebe
  
• tod 19. 8 1/2 b
  
• der regen tropft
  
• es ist das glück
  
• film noir 1979
  
• rosarote schweinchen

bureau b press release...

der plan normalette surprise reissue (originally released in 1981) cd release date: july 27, 2012 1980 the zeitgeist played into the right hands. and who held the aces? in our game, moritz r, frank fenstermacher and pyrolator = der plan. tired of convention and full of enthusiasm, they encountered an audience who felt just the same. and with record companies too ponderous to sign up der plan, the wonderful ata tak label was born of necessity. “normalette surprise” is the second album by der plan, released in 1981, a good year after their “geri reig” debut. it is immediately recognisable as a plan album, yet “normalette surprise” does contain a few, well, surprises. the first number, “leb doch”, is a brilliant pop song. one can say many (good) things about “geri reig”, but it does not contain any pop songs. “leb doch” is built on a captivatingly taut rhythm, subcooled vocals and german lyrics. hang on a minute, taut rhythm, subcooled vocals, german lyrics? yes exactly, der plan drew up the blueprint for what would soon become known as “neue deutsche welle”—the german new wave. although blueprint sounds a little too benign. it was more like a big bang. moreover, there was something new about it. or rather something old. bizarrely, der plan were introduced by their american artist friends, including the controversial elocutionist boyd rice, into the amazing world of the german schlager. a colourful universe of the absurd awaited exploration. “kleine schlager-revue” and "sie hat mich verlassen" are the clearest indications of this newfound passion on “normalette surprise”. hence “normalette surprise” presents the full range of attributes which would define der plan and the ata tak label: electronics and schlager, noise and pop. and der plan's protagonists succeeded — unlike so many — in their mission of creating something original, something of their own.

der plan “geri reig” long playing record

• adrenalin lässt das blut kochen
  
• geri regi
  
• persisches cowboy golf
  
• gefährliche clowns
  
• kleine grabesstille
  
• der weltaufstandsplan
  
• hans und gabi
  
  
• commerce extérieur mondial sentimentale
  
• was ich von mir denke
  
• san josé car muzak
  
• erste begegnung mit dem tod
  
• ch bin schizophren
  
• nessie
  
• gefährliche clowns (manisch-idiotisch)
  
• die welt ist schlecht

bureau b press release...

der plan geri reig reissue (originally released 1980) lp (180g vinyl) release date: july 27, 2012 “geri reig” is der plan’s debut album, but not their first release. an ep, recorded with the aid of an electric memo dictation preceded “geri reig”. but the band is not very keen on reissuing this early work. why did they call themselves “der plan” actually? “a concept which has something to do with the capacity of people to think and shape their future” as plan member moritz reichelt, alias moritz r, once explained. der plan at that time comprised moritz reichelt, frank fenster-macher, robert görl and chrislo haas. their music was menacing, fragmented noise rock, still with guitar and drums, but far removed from the typical (rock) music of the period. when görl and haas departed (to form daf), guitars and drums also disappeared from der plan. new on the team: kurt dahlke alias pyrolator. this was the line-up which recorded “geri reig” in reichelt’s düsseldorf office with a two-channel tape machine. “geri reig” is a punk album in the truest and best sense. new, threatening and, at the same time, humorous. whilst other bands of the era stamped with the seal of “punk” played a faster and harder version of 1950s rock and roll or 1960s garage rock, der plan, like a handful of contemporaries such as the residents or throbbing gristle, not only rejected traditional song structures but jettisoned the whole instrument list. that’s punk for you! allied to a deep aversion to rock music and the cliché that goes with it, was the wish to create something of their own. and “geri reig” is certainly idiosyncratic: fragments and songs, raspy and fragile, melodies and interference, ambient sounds up front in the mix. fine in theory and – rare though it may be – excellent in practice. and it just gets better: the album was well received. moritz r: “as if everyone had been waiting for it.” – “the world is a bad place”? („die welt ist schlecht?“, cf. track 15). not always!

der plan “geri reig” compact disc

• adrenalin lässt das blut kochen
  
• geri reig
  
• persisches cowboy golf
  
• gefährliche clowns
  
• kleine grabesstille
  
• der weltaufstandsplan
  
• hans und gabi
  
• commerce extérieur mondial sentimentale
  
• was ich von mir denke
  
• san josé car muzak
  
• erste begegnung mit dem tod
  
• ch bin schizophren
  
• nessie
  
• gefährliche clowns (manisch-idiotisch)
  
• die welt ist schlecht
  
  
• es piept
  
• fürstenwall
  
• intermezzo
  
• dark porn
  
• heinz, komm zum feuer
  
• money honey

bureau b press release...

der plan geri reig reissue (originally released 1980) cd release date: july 27, 2012 “geri reig” is der plan’s debut album, but not their first release. an ep, recorded with the aid of an electric memo dictation preceded “geri reig”. but the band is not very keen on reissuing this early work. why did they call themselves “der plan” actually? “a concept which has something to do with the capacity of people to think and shape their future” as plan member moritz reichelt, alias moritz r, once explained. der plan at that time comprised moritz reichelt, frank fenster-macher, robert görl and chrislo haas. their music was menacing, fragmented noise rock, still with guitar and drums, but far removed from the typical (rock) music of the period. when görl and haas departed (to form daf), guitars and drums also disappeared from der plan. new on the team: kurt dahlke alias pyrolator. this was the line-up which recorded “geri reig” in reichelt’s düsseldorf office with a two-channel tape machine. “geri reig” is a punk album in the truest and best sense. new, threatening and, at the same time, humorous. whilst other bands of the era stamped with the seal of “punk” played a faster and harder version of 1950s rock and roll or 1960s garage rock, der plan, like a handful of contemporaries such as the residents or throbbing gristle, not only rejected traditional song structures but jettisoned the whole instrument list. that’s punk for you! allied to a deep aversion to rock music and the cliché that goes with it, was the wish to create something of their own. and “geri reig” is certainly idiosyncratic: fragments and songs, raspy and fragile, melodies and interference, ambient sounds up front in the mix. fine in theory and – rare though it may be – excellent in practice. and it just gets better: the album was well received. moritz r: “as if everyone had been waiting for it.” – “the world is a bad place”? („die welt ist schlecht?“, cf. track 15). not always!

conrad schnitzler “(blau)” long playing record

• die rebellen haben sich in den bergen versteckt
  
  
• jupiter

bureau b press release...

conrad schnitzler (blau) lp (180g vinyl) release date: june 15th, 2012 on the red album rot, conrad schnitzler laid down the direction his musical artistry would take. his second solo, the blue album blau, originally released in 1974, offered confirmation of his intent. maybe the "red" and "blue" tracks were recorded in the same session. the structure, sound and timbre of both lps are so similar as to suggest that this was the case (an unverified assumption nevertheless!). far more important than this historical pedantry is the fact that schnitzler included two brand-new compositions on blau which followed on seamlessly from the previous album. quite simply, he had found his way, a course from which he would not stray as long as he lived. the so-called berlin school (berliner schule) -- with conrad schnitzler one of their number -- had developed its own style of minimalist music. clearly distinct from anglo-american pop music, and no less removed from the minimalist art music of steve reich or philip glass, the focus here was on electronics and elementary rhythmics. the berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. with the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. blau is an archetypal example of this very phenomenon. courage, the pioneering spirit and artistic brilliance can be detected in each part of the album's two infinite sequences. inspired by joseph beuys, schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. questions of harmony, melody and strict form were well and truly rejected by schnitzler. his aural crystals shine like pearls on a string. schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity. schnitzler's style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times.

conrad schnitzler “(blau)” compact disc

• die rebellen haben sich in den bergen versteckt
  
• jupiter
  
• wild space 1
  
• wild space 2
  
• wild space 3
  
• wild space 4
  
• wild space 5
  
• wild space 6

bureau b press release...

conrad schnitzler (blau) cd release date: june 15th, 2012 on the red album rot, conrad schnitzler laid down the direction his musical artistry would take. his second solo, the blue album blau, originally released in 1974, offered confirmation of his intent. maybe the "red" and "blue" tracks were recorded in the same session. the structure, sound and timbre of both lps are so similar as to suggest that this was the case (an unverified assumption nevertheless!). far more important than this historical pedantry is the fact that schnitzler included two brand-new compositions on blau which followed on seamlessly from the previous album. quite simply, he had found his way, a course from which he would not stray as long as he lived. the so-called berlin school (berliner schule) -- with conrad schnitzler one of their number -- had developed its own style of minimalist music. clearly distinct from anglo-american pop music, and no less removed from the minimalist art music of steve reich or philip glass, the focus here was on electronics and elementary rhythmics. the berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. with the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. blau is an archetypal example of this very phenomenon. courage, the pioneering spirit and artistic brilliance can be detected in each part of the album's two infinite sequences. inspired by joseph beuys, schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. questions of harmony, melody and strict form were well and truly rejected by schnitzler. his aural crystals shine like pearls on a string. schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity. schnitzler's style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times. digipak reissue with liner notes by asmus tietchens, rare photos and six bonus tracks.

conrad schnitzler “(rot)” long playing record

• meditation
  
  
• krautrock

bureau b press release...

conrad schnitzler (rot) lp (180g vinyl) release date: june 15th, 2012 there was a particular type of artist who could only have emerged in the legendary early 1970s. few musicians fit the bill better than conrad schnitzler (tangerine dream, kluster). revolution, pop art and fluxus created a climate which engendered unbridled artistic and social development. radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. the magic words were "subculture," "progressivity" and "avant-gardism." west berlin, with its unique political status, was a crucible of turbulence. founded in 1968, zodiak free arts lab was the ultimate point of convergence for subculture in west berlin, with conrad schnitzler the driving force behind it. it was also here that tangerine dream and kluster first met up to perform in public. bureau b presents rot (the "red" album) from 1973, schnitzler's first solo lp.

conrad schnitzler “(rot)” compact disc

• meditation
  
• krautrock
  
• red dream

bureau b press release...

conrad schnitzler (rot) cd release date: june 15th, 2012 there was a particular type of artist who could only have emerged in the legendary early 1970s. few musicians fit the bill better than conrad schnitzler (tangerine dream, kluster). revolution, pop art and fluxus created a climate which engendered unbridled artistic and social development. radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. the magic words were "subculture," "progressivity" and "avant-gardism." west berlin, with its unique political status, was a crucible of turbulence. founded in 1968, zodiak free arts lab was the ultimate point of convergence for subculture in west berlin, with conrad schnitzler the driving force behind it. it was also here that tangerine dream and kluster first met up to perform in public. bureau b presents rot (the "red" album) from 1973, schnitzler's first solo lp. digipak reissue with liner notes by asmus tietchens, rare photos and a 20-minute bonus track.

daf “produkt der deutsch-amerikanischen freundschaft” long playing record

• untitled (1)
  
• untitled (2)
  
• untitled (3)
  
• untitled (4)
  
• untitled (5)
  
• untitled (6)
  
• untitled (7)
  
• untitled (8)
  
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• untitled (12)
  
  
• untitled (13)
  
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• untitled (15)
  
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• untitled (17)
  
• untitled (18)
  
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• untitled (20)
  
• untitled (21)
  
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bureau b press release...

daf produkt der deutsch-amerikanischen freundschaft reissue (originally released in 1979) lp (180g vinyl) release date: may 11, 2012 true daf connoisseurs will, of course, be aware of the early phase of the düsseldorf-wuppertal combo. but most fans of the subsequently world-famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, gabi delgado and leather all conspicuously absent. in their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types! a band can barely have undergone a more extreme metamorphosis. gabi delgado joined the band (hitherto comprising robert görl, kurt dahlke / pyrolator, wolfgang spelmans and michael kemner), before the band discarded the name of you and christened themselves deutsch-amerikanische freundschaft. and he was also on board for the first recording sessions at studio 56 in mühlheim. disappointed with the results (“too close to schlager”, the band thought) and “less than happy” with delgado’s vocals and lyrics (as pyrolator, responsible for electronics, noted), the group dispensed with delgado’s services. yet the creative will was undiminished: “we really wanted to make a record. all the düsseldorf bands — male, mittagspause — already had an album out, everyone except us” and with the singer now gone, an instrumental album was the only option. in the wake of the studio debacle, the decision was taken to take the recording into their own hands. a tape machine and two microphones were set up in wolfgang spelmans’ living room and ten days of unbounded improvisation ensued. and thus it was completed, “produkt der deutsch- amerikanischen freundschaft”: 22 tracks, ranging from 19 seconds to three minutes in length. the influence of can is clearly audible. considering the fact that other prominent noise-rock bands such as chrome, flipper or even sonic youth recorded similar music at a much later date, this “product of deutsch-amerikanische freundschaft” should certainly be recognized as a pioneering work. possibly even the first noise-rock album the world had seen or heard. was the world ready for such brutal, nihilistic sounds in the late 1970s? the world of record companies was not. unable to find a label, daf proved to be not only pioneers of noise, but also pioneers of diy. they found help from the local bank, with pyrolator putting up his car for credit amounting to 3000 marks. a logical step, as he was already running a cassette label called warning records (later becoming ata tak). “produkt der deutsch- amerikanischen freundschaft” was the first lp on the label and was given the catalogue number wr 01 / lp / 1979. sales were so good that pyrolator was able to pay back his loan nice and quickly.