{"title":"kosmische \/ german rock classics","description":"","products":[{"product_id":"amon-duul-psychedelic-underground-lp","title":"amon düül-psychedelic underground lp","description":"\u003cp\u003eReissue, originally released in 1969. The band Amon Düül formed in 1967, with music being only one part of their artistic work. In 1969, the albums Paradieswärts Düül (OMM 560082CD\/560086LP) and Psychedelic Underground were produced. Reviewers describe them as a \"document from the birth of German rock.\" It was the first krautrock album ever. Even before CAN and XHOL Caravan. Before that, three musicians parted ways with the band and formed Amon Düül II. Amon Düül disbanded in 1971. The album was transferred in high resolution from the analog master tapes at Dierks Studios and carefully remastered. 180gm \/ gatefold jacket.\u003c\/p\u003e","brand":"ohr","offers":[{"title":"Default Title","offer_id":44964551131330,"sku":"omm660086","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/amonduulpsych.jpg?v=1740320703"},{"product_id":"ash-ra-tempel-starring-rosi-lp","title":"ash ra tempel-starring rosi lp","description":"\u003cp\u003ePearl color vinyl edition. Highly-anticipated 50th Anniversary Edition re-issue of Ash Ra Tempel's legendary fifth studio album \u003ci\u003eStarring Rosi\u003c\/i\u003e. Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and \"Kosmische\" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience. The album has been recorded by Manuel Göttsching in its entirety, with additional help from producer Dieter Diercks, Harald Grosskopf, and of course Rosemarie \"Rosi\" Müller. \u003ci\u003eStarring Rosi\u003c\/i\u003e is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. \u003ci\u003eStarring Rosi\u003c\/i\u003e stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music. This reissue of \u003ci\u003eStarring Rosi\u003c\/i\u003e has been introduced and overseen by Manuel Göttsching, and finalized by his family exactly to his standards, in which the meticulous approach to his work lives on. An updated 2024 recut carefully commissioned by Schnittselle in Berlin ensures the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. Comes with a replica of the original vinyl artwork including its original backside. The Limited Edition also includes a poster of the alternate backside, used later on the CD editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased original \"The Fairy Dance\" and \"Schizo\" composition sheets, handwritten by Manuel.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/6flv08FeE2I?si=YcieV2up746rT5vr\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44971362681026,"sku":"mgart615ltd","price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashratempelstarring.jpg?v=1740600702"},{"product_id":"faust-so-far-lp","title":"faust-so far lp","description":"\u003cp\u003eAfter the poor sales of their debut album, Faust's \u003ci\u003eSo Far\u003c\/i\u003e (1972) presents the more commercial and accessible side of the legendary German krautrock band without giving up their advanced and experimental personality. It is a perfect album to begin exploring the group's discography, featuring one of their most well-known songs, \"It's a Rainy Day, Sunshine Girl,\" and is considered a striking work on par with Neu!'s first album or Can's \"Tago Mago.\" Preceding other artists like Throbbing Gristle and Nurse with Wound, Faust were pioneers in creating industrial and futuristic atmospheres using processed rhythms. An essential krautrock masterpiece. Remastered from the original tapes. 180g vinyl. Booklet included. Their approach to rock includes elements of electronic music and improvisation, drones and dissonance, becoming one of the main groups in the kosmische musik movement also known as krautrock. Their debut album was innovative and received critical acclaim but did not sell well. Unavailable on vinyl for quite some time, here is a much-awaited reissue of an essential krautrock masterpiece.\u003c\/p\u003e","brand":"munster","offers":[{"title":"Default Title","offer_id":44971364810946,"sku":"mr468","price":31.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/faustsofar.jpg?v=1740601145"},{"product_id":"manuel-gottsching-e2-e4-35th-anniversary-edition-cd","title":"manuel göttsching - e2-e4 (35th anniversary edition) cd","description":"\u003cp\u003eIn celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes eight-page booklet with notes and pictures.\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972703908034,"sku":"mgart424cd","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/manuele2.jpg?v=1740663387"},{"product_id":"manuel-gottsching-e2-e4-35th-anniversary-edition-lp","title":"manuel göttsching - e2-e4 (35th anniversary edition) lp","description":"\u003cp\u003eIn celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. 180-gram LP version presented with embossed chessboard artwork print; includes inner sleeve with artist picture and text by David Elliott from Sounds, June 16, 1984.\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972704268482,"sku":"mgart401","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/manuele2.jpg?v=1740663387"},{"product_id":"manuel-gottsching-inventions-for-electric-guitar-cd","title":"manuel göttsching-inventions for electric guitar cd","description":"\u003cp\u003eWith his first solo album, which was originally released in 1974, Manuel Gottsching (Ash Ra Tempel) laid the foundation for many other upcoming works. In fact, the guitar was invented here, for his play on the three epic tracks are years ahead of its time: Circular, flat, layered loops and improvisations create a compelling, hypnotic atmosphere and make this album in retrospect a landmark of new guitar culture. The album was completely remastered by Manuel Gottsching himself and is finally available in superb quality.\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972737757378,"sku":"mgart401cd","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/manuelgottinv.jpg?v=1740664703"},{"product_id":"manuel-gottsching-inventions-for-electric-guitar-lp","title":"manuel göttsching-inventions for electric guitar lp","description":"\u003cp\u003eoriginally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972738314434,"sku":"mgart901","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/manuelgottinv.jpg?v=1740664703"},{"product_id":"ash-ra-tempel-schwingungen-lp","title":"ash ra tempel-schwingungen lp","description":"\u003cp\u003eMG.ART announce the authorized 50th anniversary edition of Ash Ra Tempel's Schwingungen, originally released in 1972. One of the most important German krautrock albums. Re-cut carefully overseen by Manuel Göttsching himself. Gatefold sleeve with sticker; Includes original release sheet and inlay. Julian Cope's review on Schwingungen in Krautrocksampler (Head Heritage, 1995): \"'Beware of Schwingungen!' That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm -- 'Look at Your Sun' begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful -- John L. repeats over and over, 'We are all one, we are all one', until a howling fuzztone solo guitar blows the whole one chord 'Signed D.C.' ringing-cymbals torture to an end. And then the most far out track of all begins. This is called 'Flower Must Die' and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it's like the Stooges' Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket crosses into hyper-space and everything gets all hyphenated just-for-the-sake-of-it. 'Flowers Must Die', man, it's fucked up. Over on side two, the title-track ('Vibrations') begins poetically enough with Wolfgang Muller's epic and hugely reverbed vibraphone. Organ fades in and FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally materializes -- this is the one that Göttsching and Enke believed was the sound of heaven. They may have been right. And Schwingungen was a gift from the Gods.\"\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972784386242,"sku":"mgart612","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashratempleschwinglp.jpg?v=1740666635"},{"product_id":"ash-ra-tempel-schwingungen-cd","title":"ash ra tempel-schwingungen cd","description":"\u003cp\u003eAsh Ra Tempel's second album, Schwingungen is a psychedelic classic that has influenced trip rock since its release. Originally recorded and released in 1972, this edition on MIG has been remastered by band leader Manuel Gottsching. Recommended for fans of Saucerful of Secrets era Pink Floyd. Sprawling, tripped out improvisational acid rock!\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972787466434,"sku":"mgart112","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashratempleschwinglp.jpg?v=1740666635"},{"product_id":"timothy-leary-ash-ra-tempel-seven-up-cd","title":"timothy leary \u0026 ash ra tempel-seven up cd","description":"\u003cp\u003eAsh Ra Tempel meet LSD guru Timothy Leary for 1973's tripped out Seven Up. Ash Ra Tempel's third release features Harvard professor Timothy Leary on vocals. Originally released in 1973, this edition on MIG has been remastered by Ash Ra Tempel leader Manuel Gottsching. More otherworldly acid rock!\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972796870850,"sku":"mgart113","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashratempelsevenup.jpg?v=1740666995"},{"product_id":"ash-ra-tempel-join-inn-lp","title":"ash ra tempel-join inn lp","description":"\u003cp\u003eMG.ART announce the reissue of Join Inn as part three of the authorized 50th anniversary \"A.R.T.\" re-edition series. Join Inn is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion Each side of the LP comprises one long track. In 1972, Ash Ra Tempel teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, Ash Ra Tempel members Enke, Göttsching and Rosi, together with Klaus decided to \"play it again\" in a late-night session. This recording led to the birth of the Join Inn album, as well as two legendary last concerts in February 1973 in Paris and Cologne. Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on \"Freak n' Roll\", that was ingenious and not to replace ever since. It was the last recording ever where Klaus Schulze (who sadly passed away in 2022) played the drums and also Hartmut (the Hawk) Enke soon after quit the bass and music forever. Join Inn marks the end of the collaboration with Klaus Schulze. However, together with Ash Ra Tempel, their eponymous first album, it is considered a highlight of the Krautrock movement. Re-cut overseen by Manuel Göttsching.\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972802179266,"sku":"mgart614","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashratempeljoininn50.jpg?v=1740667389"},{"product_id":"ash-ra-tempel-join-inn-cd","title":"ash ra tempel-join inn cd","description":"\u003cp\u003eJoin Inn is the fourth Album by Ash Ra Tempel and was recorded in 1973 during sessions for Walter Wegmuller album Tarot, on which all the musicians of Ash Ra Tempel were also involved. In addition to the nucleus of Manuel Gottsching (guitar) and Hartmut Enke (bass), Klaus Schulze was involved again (on drums, organ and synthesizer) and Manuel Gottsching's girlfriend Rosi Mueller as well. Remastered by Gottsching!\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":44972802703554,"sku":"mgart114","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashratempeljoininn50.jpg?v=1740667389"},{"product_id":"kluster-zwei-osterei-lp","title":"kluster-zwei osterei lp","description":"\u003cp\u003e180 gram vinyl version. 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 led 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 claim which Zwei Osterei fulfills one hundred percent. 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.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44972804669634,"sku":"bb111","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/kluszwe.jpg?v=1740667772"},{"product_id":"cluster-sowiesoso-lp","title":"cluster-sowiesoso lp","description":"\u003cp\u003eThe 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.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44972806602946,"sku":"bb039","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/clustersowiesoso.jpg?v=1740667950"},{"product_id":"cluster-ii-lp-cd","title":"cluster-ii lp+cd","description":"\u003cp\u003e Originally released in 1972, this is the second album by legendary German ambient pioneers Dieter Moebius and Hans-Joachim Roedelius. Moebius and Roedelius essentially create ambient electronic soundscapes that ebb and flow, droning on in a suspended world of anti-gravity where machine has conquered man.\" 180 gram vinyl with CD version of the album.\u003c\/p\u003e","brand":"lilith","offers":[{"title":"Default Title","offer_id":44972813025474,"sku":"lr335","price":30.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/clusteriicd.jpg?v=1740668177"},{"product_id":"cluster-zuckerzeit-lp-cd","title":"cluster-zuckerzeit lp+cd","description":"\u003cp\u003e\"Originally released in 1974, Zuckerzeit marked a turning point for these seminal German space rockers. Recorded shortly after their move away from the metropolis of Berlin, it sees some of the abrasiveness of their earlier material slightly diffusing. With the addition of proto drum machines and the producing talents of Michael Rother, their sound here - while remaining firmly in anchored in experimental territory - has more pop sensibility.\" 180 gram vinyl with a CD version of the album.\u003c\/p\u003e","brand":"lilith","offers":[{"title":"Default Title","offer_id":44972814762178,"sku":"lr333","price":30.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/clusterzu.jpg?v=1740668360"},{"product_id":"eno-moebius-roedelius-after-the-heat-lp","title":"eno\/moebius\/roedelius-after the heat lp","description":"\u003cp\u003eOriginally released in 1978 on Sky Records, After The Heat was the second collaborative release by Brian Eno with Dieter Moebius and Hans-Joachim Roedelius (Cluster). Produced once again by Conny Plank, After The Heat is a suite of micro-managed organic and electronic instrumentation that features recited and sung vocals by Eno on 3 tracks. As Asmus Tietchens writes in the liner notes: \"Cluster \u0026amp; Eno can, with the benefit of hindsight and without overstating its case, be seen as the first ambient album to have been produced in Germany. The second LP, After The Heat, is, however, a completely different story. Whilst Cluster \u0026amp; Eno bears the hallmark of a Cluster composition guided by Eno's ambient concept, After The Heat is more of an Eno album bearing stylistic characteristics of Cluster music.\" Sweet, slow-moving and airy, with a modern classical\/prog appeal.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44972815909058,"sku":"bb030","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/enomoebiusroedeliusafterthe.jpg?v=1740668529"},{"product_id":"cluster-curiosum-lp","title":"cluster-curiosum lp","description":"\u003cp\u003eLP version with color inner sleeve and liner notes by Asmus Tietchens. Originally released on Sky Records in 1981, Bureau B reissues Cluster's Curiosum -- the sixth duo collaboration between Dieter Moebius and Hans-Joachim Roedelius. Curiosum was to mark a departure to pastures new. Little did they know that this would be their last release for the next nine years. Curiosum was launched into an atmosphere of musical turbulence. Electronic sounds had become commonplace in pop music and the voice of Cluster could barely be heard through the noise of a new generation of music. Curiosum is a decidedly tranquil, almost melancholy album -- quiet being the operative word, as Cluster slipped out of the limelight. It was recorded in rudimentary fashion in Austria, now home to Roedelius. This is Cluster music at its most serene, a sense of profound humility running through the seven tracks of the LP. It says a lot about the state of mind of the two musicians, allied to the fact that this was the first time they chose to mix outside of Conny Plank's studio where, in the past, the finishing touches had been applied. Roedelius and Moebius laid their cards on the table for all to see, offering up Curiosum as an honest, unadorned selection of tracks, free of artifice and preconception. The album represented a return to the virtues of their early work (when Cluster was written with a \"K\"), random and spontaneous. Curiosum is nothing if not a curiosity, wholly resistant to the cacophonous zeitgeist of the early '80s, stripped down and keenly focused on perfect shapes. This is Cluster's swan-song to the past.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44972820660418,"sku":"bb038","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/clustercur.jpg?v=1740668671"},{"product_id":"cluster-ii-50th-anniversary-edition-lp","title":"cluster-ii (50th anniversary edition) lp","description":"\u003cp\u003e50th anniversary edition reissue, originally released 1972. Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded ten regular studio albums between 1971 and 2009. Their debut album (Cluster 71) was in Wire Magazine's \"One Hundred Records That Set The World On Fire\" list. Follow up, Cluster II, has now reached its 50th anniversary and to celebrate Bureau B are releasing a limited anniversary edition, vinyl only in a gatefold sleeve. \"Cluster II was born in two big cities. Back in 1972 Hans-Joachim Roedelius and Dieter Moebius still lived in Berlin, where they were part of the city's swirling underground scene, situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture that perceptibly influenced Cluster II, but the album was recorded in Hamburg; one track a live performance at Hamburg's concert hall 'Fabrik' . . . It goes without saying that they could not do completely without electricity, but they mostly manipulated their keyboards and other electric devices in an improvised way, as if rolling their sleeves up for some real manual work. This way Cluster never saw their role reduced to pushing buttons and pressing switches. It is obvious that Roedelius and Moebius were not late in discovering the tape loop as a method of creating repetitive patterns. They also incorporated an analog rhythm machine into Cluster II, even though it did not yet play an essential part on the album but what they firmly relied on was not their equipment, but rather their intuition and the option to decide at any point what was supposed to happen in the next few moments. The fact that they were always ready to run the risk of musical failure is something that cannot be respected highly enough. So, Cluster proceeded in a different way not only from a musical point of view, but also displayed a completely new attitude. Moebius and Roedelius never submitted to their machines but let their personalities as heart and soul musicians be heard at all times to create 'electronic music with a human face'. Conrad Plank, the ingenious sonic magician, who regularly hosted Cluster, Harmonia and others in his studio, displayed so much enthusiasm and inspiration in helping put these new ideas into practice. Bravely and without fear, Cluster had ventured out on a journey without knowing where it would lead them, stepping into fascinating, virgin territory...\" --Asmus Tietchens\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44972972310722,"sku":"bb406","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/clusterii50th.jpg?v=1740678139"},{"product_id":"cluster-farnbauer-live-in-vienna-1980-2lp","title":"cluster \u0026 farnbauer-live in vienna 1980 2lp","description":"\u003cp\u003eThe first live recording of Cluster (Dieter Moebius and Hans-Joachim Roedelius), and their only collaboration with Austrian musician Joshi Farnbauer (drums and percussion), recorded in Vienna in 1980. A sonic throwback to their early years, reissued on CD. Were one to be presented with two separate stacks of Cluster recordings -- one composed of their studio work, the other of live performances -- an innocent listener might conclude they are the efforts of two completely different artists. This would understandably have been the case in 1980, when the structured, tuneful miniatures of 1979's Grosses Wasser and 1981's Curiosum were unlikely bookends to the sprawling electroacoustic abstractions of Live in Vienna. But as fans of the idiosyncratic duo already knew, Cluster's trajectory was always a restless one -- more about disruption than gentle evolution. As Live in Vienna's sound engineer, Eric Spitzer-Marlyn, recalls, Cluster's 1980 performance at the Wiener Festwochen Alternativ would have been called a \"happening\" in an earlier time. Growing out of the Actionism movement of the '60s, the festival was more performance art than music concert. Disdainful of the tired, commodified art of the establishment, it was a sound marked by brash, improvised, avant-garde techniques. Spitzer-Marlyn also recalls that it was loud. For those who had grown up with Cluster's accessible '70s work with Eno and Plank, and their collaboration with Michael Rother in Harmonia, Live in Vienna's slow-growing swaths of electronics and noise must have represented a bit of a shock. But it was really more of a throwback to Cluster's earliest years, when they performed dense electronic \"jams\" with Conrad Schnitzler as Kluster. The addition in Vienna of Joshi Farnbauer, a friend and fellow artist who played percussion and explored the sound possibilities of his own sculptures, also mirrored the fluid and spontaneous configurations that characterized those times. As chance would have it, they never met up with Farnbauer again.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44972977717442,"sku":"bb275","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/clusterfarnlivevienna.jpg?v=1740678234"},{"product_id":"conrad-schnitzler-gelb-50th-anniversary-edition-lp","title":"conrad schnitzler-gelb (50th anniversary edition) lp","description":"\u003cp\u003eLimited anniversary edition. Embossed, reverse board, hand numbered on limited-edition yellow vinyl. 500 copies available. Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967\/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The yellow album appeared in 1981, yet it contained recordings from the year 1974, originally released in a limited run on cassette. \"The chronology of Schnitzler's solo releases in the 1970s resembles a book with seven seals. Schnitzler regularly issued his music on analogue cassette or LP, often on his own as \"private releases,\" without any help from a label or professional distributor. The yellow album, for example, was issued on vinyl in 1981 by René Block in Berlin on his art gallery label (Edition Block). Schnitzler had previously released records on various other labels. The music on the yellow album had, in fact, already been on the market as The Black Cassette in 1974, although the production run was probably limited. The yellow album is subtitled '12 pieces from the year 1974,' pointing to Schnitzler's novel approach. Whereas his prior works always lasted for the whole side of an LP or tape, the tracks here are shorter. Also new: Schnitzler goes beyond automatic sonic processes on a number of tracks, using his keyboards to integrate something approaching melodic improvisations 'played by hand' into his musical cosmos. Schnitzler's otherwise crystalline, inorganic world of art is thus enriched by an almost human, organic element. An amiable breeze wafts through the music of the yellow album, thankfully miles away from the sentimental platitudes which run through off-the-shelf ambient music of the 1980s. The yellow album is not only amiable from start to finish, it also documents an important stage in Schnitzler's musical development. Belatedly released on LP (1981) and lacking in discographical detail, this aspect is easily overlooked. On careful listening, as Schnitzler connoisseurs will also realize instantly, this album reveals itself to be an important milestone, illuminating a clear path into the future. Schnitzler had begun to free himself from the constraints of orthodox conceptual art, advancing into the wide-open spaces of uncharted musical territory.\" -Asmus Tietchens\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973071466690,"sku":"bb196ltd","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlergelb50.jpg?v=1740682686"},{"product_id":"conrad-schnitzler-blau-50th-anniversary-edition-lp","title":"conrad schnitzler-blau (50th anniversary edition) lp","description":"\u003cp\u003eOn the red album, Conrad Schnitzler laid down the direction his musical artistry would take. The blue album (Blau) offered confirmation of his intent. Maybe the Rot and Blau 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. 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 signposts 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. Already a figure of prominence, perhaps he will one day be elevated to the status of a legend. Limited anniversary edition: embossed, reverse board, hand numbered, limited edition blue vinyl, 500 copies available.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973072220354,"sku":"bb103ltd","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlerblau50.jpg?v=1740682773"},{"product_id":"conrad-schnitzler-rot-50th-anniversary-edition-lp","title":"conrad schnitzler-rot (50th anniversary edition) lp","description":"\u003cp\u003eThere 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. Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, excessive experimentation with drugs, and ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were subculture, progress- positivity, and avantgardism. West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak 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 (the red album, Rot, was Schnitzler's first solo effort). As a member of Tangerine Dream, however, he had participated in the band's debut release Electronic Meditation some three years earlier (1970). He, Dieter Moebius, and Hans-Joachim Roedelius had also already founded Kluster, whose first album Klopfzeichen attracted a wealth of attention. On Rot, meanwhile, Schnitzler uncompromisingly pursued his very own vision of electronic music. As an acolyte of action and object artist Joseph Beuys, Schnitzler embraced the former's \"extended definition of art,\" in which controlled randomness assumed an important role. Schnitzler actually extended the concept of music. Or to put it another way: he cared not one iota for existing rules of music, preferring to create his own or conceptualizing a certain degree of lawlessness. Improvisation grew in importance. The most exciting aspect of Schnitzler's music is not the fact that he only used synthetic sound and noise; the apparently chaotic movements of his microscopic particles of sound draw the listener into a paradoxical, yet also crystalline and vibrant artistic world. It doesn't get much more outlandish than this. Schnitzler's debut surpassed virtually every other pioneering artist of the day in terms of radicalness. Not content merely with making psychedelic soundtracks, he turned these on their head with his defiant artistic will. The rigor of his approach has never been matched. Schnitzler's inimitable cascades of sound and their transparency were, and remain, unique. Limited 50th Anniversary Edition: embossed, reverse board, hand numbered, limited edition red vinyl.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973073727682,"sku":"bb102ltd","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlerrot50th.jpg?v=1740682881"},{"product_id":"conrad-schnitzler-slow-motion-lp","title":"conrad schnitzler-slow motion lp","description":"\u003cp\u003eThe 1960s weren't just about The Beatles, the Rolling Stones and hippies; they also ushered in new forms of art: happenings, Fluxus, Neo-Dada, video art, to name just a few. As borders blurred, pop influenced art and art influenced pop. Many protagonists of the time chose to ignore borders altogether. This chaotic, euphoric atmosphere of extreme innovation lasted well into the 1970s and continues to resonate today. All manner of trailblazers shaped the soundscape of the era. Conrad Schnitzler (born 1937) and Karl Horst Hödicke (born 1938) -- longstanding members of the official artistic canon -- were multifunctional artists who painted, performed, sculptured, made films and music. They were always to be found on the edge of the \"permissible\" and invariably went beyond \"modern\" perceptions of art. Schnitzler, Hödicke and many of their contemporaries arrived at a completely new definition of the avant-garde. The circumstances of Schnitzler and Hödicke's first meeting are unknown, but it should come as no surprise that it was Schnitzler who composed the soundtrack for Hödicke's film entitled Slow Motion in 1976. The two artists were cut from the same cloth, routinely crossing any boundaries they happened to encounter. Schnitzler wrote music for each of the film's 14 sequences, linking them together in a logical progression of minimalist imagery. Each piece of music quite brilliantly accentuated the preceding one. Schnitzler's musical sensibility was wholly compatible with Hödicke's approach to film. Not that Schnitzler was ever a film composer. Slow Motion worked because Schnitzler and Hödicke were on the same wavelength, daring to experiment with sound and vision in such a way that auditory and visual components were interdependent. Nevertheless, it still makes sense to release the soundtrack without the images. Schnitzler undoubtedly responded to the pictures as he composed, but his customarily uncompromising style is very much in evidence: rhythmically structured electronic cascades, intermittent impulse chains and manual improvisations alternate with planar clouds of sound. Analogue sequencers and an analogue rhythm machine played a crucial role. The tracks on Slow Motion vary in length and mood, but the listener never has to leave Schnitzler's sonic universe, even without the pictures for which the music was composed. Slow Motion is an important document in Schnitzler's oeuvre, seamlessly taking its place alongside his many other releases, whilst also highlighting his constructive input as an equal partner in an experimental film production.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973074514114,"sku":"bb452","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlerslowmotion.jpg?v=1740683054"},{"product_id":"conrad-schnitzler-auf-dem-schwarzen-kanal-ep","title":"conrad schnitzler-auf dem schwarzen kanal ep","description":"\u003cp\u003eAuf Dem Schwarzen Kanal is one of the most outstanding, most sought-after releases in Conrad Schnitzler's extensive catalog. It was the only Schnitzler record to appear on a major label and saw him flirting with the experimental new wave sound that was emerging in 1980, particularly on the title track. Nevertheless, it still managed to sound idiosyncratically unlike any other music around at the time. Recorded with Wolfgang Seidel at Peter Baumann's Paragon Studio in Berlin, the four tracks take us on a caustic, dissonant mutant disco trip which has lost none of its fascination in the years since. It gives us at Bureau B great pleasure to reissue this long lost work.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973075792066,"sku":"bb357","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzleraufdem.jpg?v=1740683262"},{"product_id":"conrad-schnitzler-pharmakustik-schubkraft-lp","title":"conrad schnitzler \u0026 pharmakustik-schubkraft lp","description":"\u003cp\u003eKontraktion and Extruder are the results of various tape-sessions by Conrad Schnitzler and Siegmar Fricke in Con's former studio Leberstrasse in Berlin. The soundscapes on both records (produced in November 1986 and July 1987 with EMS-Synthi A, Korg MS 10 + MS 20 + delays) contain all the machinist energy and infernal industrial sound-eruptions similar to Conrad's first three albums Schwarz, Rot, and Blau and to the rumbling train wheel rhythms of Zug (from the Red Cassette 1974). The albums also carry the spirit of the first Cluster album (released in 1971 on Philips) due to the imposing brutalist elements and uneasy sci-fi atmospheres. Schubkraft, the third and final album of the Schnitzler\/Pharmakustik-triology (recorded during the same sessions in Berlin) contains two long pieces of thrust generated force and propulsive power. Soundwise an album combining mechanically driven rhythms and propelling velocity with rusty organic textures. The shiny yellow cover reflects the sheer explosive drive of the audio-material. The complete session-material has been refurbished, restructured and recombined by Siegmar Fricke at Pharmakustik-studio Germany.\u003c\/p\u003e","brand":"rotorelief","offers":[{"title":"Default Title","offer_id":44973077135554,"sku":"rotor078","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlerschub.jpg?v=1740683426"},{"product_id":"conrad-schnitzler-con-84-lp","title":"conrad schnitzler-con 84 lp","description":"\u003cp\u003eComposer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967\/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to many other musical stations, bustling Schnitzler was a member of the kraut-electronic formations Tangerine Dream and Kluster. Numerous solo releases complete his extensive oeuvre. One of them is Con 84, probably his most composed work, on which he challenges the traditions of so-called Ernste Musik. The result is a complex electronic sound structure that marks a break with Schnitzler's previous work in a subversive flirtation with traditionalism. \"... Con 84 is evidently the product of a computer-supported sound generator -- a sampler. The original LP came completer with sheet music inserts, so a music printer must also have been part of the package. It is hard to say which instruments Schnitzler had at his disposal in the early 1980s. And more to the point, where did he record these pieces? Was he still at Peter Baumann's Paragon Studio? Leaving such questions aside, what really matters here is the opportunity to gain an insight into Schnitzler's complex musical imagination and powers. It appears as if he wanted to show the listener that he can still compose in the classical sense, creating a series of miniatures which are not so far away from the infinite glittering patterns of the existing Schnitzler cosmos. Con 84 lines up polyphonic compositions from start to finish. John Cage, Fluxus, randomness -- nowhere to be seen. Schnitzler the traditionalist? A highbrow composer? On the contrary. Just as he so marvelously subverted common conceptions of art, Schnitzler crafted Con 84 to sound like Ernste Musik -- serious (classical) music. He was a master of camouflage (with a wink of the eye) and repeated the trick nine years later on the French release CD Con Brio. Following Schnitzler has always meant being ready to expect the unexpected. When he could, and had the financial means to do so, Schnitzler liked to use the latest technology. Con 84 was technologically advanced for its time, yet the music was paradoxically conventional...\" --Asmus Tietchens, 2022\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973079331010,"sku":"bb411","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlercon84.jpg?v=1740683562"},{"product_id":"conrad-schnitzler-paragon-the-paragon-session-outtakes-1978-1979-lp","title":"conrad schnitzler-paragon (the paragon session outtakes 1978-1979) lp","description":"\u003cp\u003e\"Conrad Schnitzler is incredible. I would dearly have loved to meet him, to have been present when he, Seidel and Baumann were working their magic at Paragon Studio. Fortuitously, Wolfgang Seidel, co-author of these pieces, has opened up his archive of recordings to the Bureau B label. He and Conrad Schnitzler spent many years together experimenting with sound, capturing the results on the two Consequenz albums, amongst others. I had the honor of meeting Wolfgang Seidel at the Golden Pudel Club during the 2018 Eruption Festival. Ken Montgomery, who worked with Schnitzler in New York towards the end of the 1980s, was also there. The concerts and performances were hauntingly powerful, infused with the spirit of Schnitzler's music and utopian vision. These entirely instrumental recordings were created in the late 1970s at Peter Baumann's Paragon Studio. In my opinion, this stellar period gave rise to the finest works: the Con, Consequenz, and Con 3 albums, featuring such wonderful pieces as \"Fata Morgana\", \"Coca\", and \"Auf dem schwarzen Kanal\". These recently discovered pieces take the aforementioned albums a stage further. Sounds complement each other as they are reprised, whilst continuing to exist in their own cosmos. As you listen, you feel as if you have been transported back into the studio itself while the sessions are happening. One surprise follows another -- the third track sounds like clocks ringing at a pitch which only a bat could really hear. Numbers '5' and '6' are not so far removed from abstract techno tracks by Jeff Mills, albeit with rather more swing, floating in upper tone sequences reminiscent of the American composer Conlon Nancarrow. Nr. '8' is an absolute dream\/wave piece, sounding like a relation of the (then) emerging Throbbing Gristle project. The tenth piece is my personal favorite, evoking a wave-romantic atmosphere which might lead you to believe that Conrad Schnitzler had been listening to The Cure. Schnitzler is electronica in its purest sense. He succeeds in rendering the unconscious audible. This goes far beyond 'music to listen to', it is music which works on different levels, music to move you.\" --Richard von der Schulenburg\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973081067714,"sku":"bb355","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlerparacon.jpg?v=1740683737"},{"product_id":"conrad-schnitzler-consequenz-lp","title":"conrad schnitzler-consequenz lp","description":"\u003cp\u003e\"Commercial Schnitzler? How quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. Conrad 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, while 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\" 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 aka 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 12 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 analog 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\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973106266306,"sku":"bb121","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnconse.jpg?v=1740685700"},{"product_id":"conrad-schnitzler-wolf-sequenza-consequenz-ii-lp","title":"conrad schnitzler \u0026 wolf sequenza-consequenz ii lp","description":"\u003cp\u003eComposer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967\/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to numerous solo releases Schnitzler was also involved in various band formations not least Tangerine Dream and Kluster. Representing another of his musical landmarks are the Consequenz releases. Consequenz II emerged from a collaboration with Wolfgang Seidel alias Wolf Sequenza, and is the follow-up project to Consequenz  which was a low-budget production that had an overriding aim of liberating music from its elitist circles in a \"Beuys-ian\" sense. Consequenz II returned to the theme with electronic apparatus that professionalized the sound but by no means reduced the fun he found in experimentation. \"... Schnitzler had studied sculpture under Joseph Beuys and the statement echoed his teacher's philosophy: 'Everyone is an artist.' The flyer continued in similar vein: 'ERUPTION are freeing the prisoners from their ivory towers.' Schnitzler viewed art as social practice, not the realm of specialists. Anyone could get involved. You didn't even need to be able to play an instrument. The flyer also announced: 'Members of the audience who bring transistor radios will get reduced admission if they play music on their radios inside the venue.' That was back in 1971, ten years before we produced and recorded the Consequenz LP. We included instructions inside the sleeve for setting up just such a project with the minimum of technical fuss, inviting submissions which used the record as a playback tool . . . We had almost resigned ourselves to life in the ivory tower when a letter from a Spanish label (Esplendor Geometrico) reached us, asking for a sequel -- Consequenz II. It didn't take long for us to decide to accept the offer, encouraged by the fact that we would not have to finance the release out of our own pockets -- as had been the case with the first Consquenz. Certain 'secret devices' had materialized in our ivory tower in the meantime. Conrad Schnitzler had purchased an 8-track recorder with money he had earned from 'proper' art. I borrowed various bits of equipment from my band -- Populäre Mechanik -- including a drum computer, so we could really let rip. The little songs we made sounded much more 'professional' than the cheerfully low budget music of the first Consequenz . . . All we needed now was music for the B-side, but our enthusiasm for the borrowed drum computer had waned somewhat. It was always the first track we recorded, which meant that everything else had to follow its lead. The beat itself was singularly unimpressed by what came next. This was an unsatisfactory state of affairs for two players (musicians?) who had begun with free improvisation, with either of the participants able to change the direction of the whole thing...\" --Wolfgang Seidel, November 2021\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973108756674,"sku":"bb403","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradschnitzlerconsequenzii.jpg?v=1740685883"},{"product_id":"conrad-schnitzler-00-830-endtime-2lp","title":"conrad schnitzler-00\/830 endtime 2lp","description":"\u003cp\u003eOnly a few days before he passed away last August, he created this unique, almost 70 minutes long work. 36 parts mixed into each other create a walk through his entire work. This record is not only for fans of Conrad Schnitzler. It's like a trip through 40 years of electronic music. Conrad Schnitzler once more shows how strong his influence has marked young artists like Emeralds and Oneohtrix Point Never. Wihtout his solo works and his projects Kluster, Tangerine Dream and Eruption electronic music wouldn't be the same. The tracks on the vinyl edition are in the order sides A,C,B,D. This allows you to make your own mix of this big work.\u003c\/p\u003e","brand":"m=minimal","offers":[{"title":"Default Title","offer_id":44973110952130,"sku":"minimal010","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradendtime.jpg?v=1740686109"},{"product_id":"conrad-schnitzler-frank-bretschneider-con-struct-lp","title":"conrad schnitzler \u0026 frank bretschneider - con-struct lp","description":"\u003cp\u003eAbout the Con-Struct series: Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=minimal label in Berlin reissued two Conrad Schnitzler albums at the outset of the 2010s, label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound. Frank Bretschneider on his \"Con-Structions\": \"I read the name Conrad Schnitzler for the first time in the article about Tangerine Dream in the Rowohlt Rock Lexicon from 1973. The first time I heard his music was only in 1980, when his wave track 'Auf dem Schwarzen Kanal' was played on the radio . . . It wasn't until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius's East Berlin Kröten Kassetten label. And again almost ten years later his Plate Lunch CDs Rot and 00\/106 (1997). But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer. Schnitzler's early role as cofounder of two influential bands is one reason for the ongoing reception. Another is his consequence as an artist. 'I'm not interested in having publicity or a public feedback' he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self-taught person and as someone who prefers to look forward instead of looking back: 'I don't want nostalgia.' After all it was Jens Strüver who inspired me to work with Conrad Schnitzer's material. I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler's world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own.\"\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973114425538,"sku":"bb349","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradfrankconstruct.jpg?v=1740686367"},{"product_id":"conrad-schnitzler-pyrolator-con-struct-lp-cd","title":"conrad schnitzler \u0026 pyrolator - con-struct lp+cd","description":"\u003cp\u003eConrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967\/'68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius), and released countless solo albums. Pyrolator, born Kurt Dahlke in 1958, cofounder of the legendary German label and publisher Ata Tak, member of various seminal post-punk bands including D.A.F. and Der Plan, has released solo albums under his artist name from 1979 on. The Con-Struct series has its roots in Schnitzler's daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in subsequent live performances and amassed a vast sound archive. When the Berlin-based m=minimal label reissued two Conrad Schnitzler albums in 2010 and '11, label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of constructing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound. Andreas Reihse (Kreidler) was responsible for the second installment in 2013, and now Strüver has chosen Pyrolator to assume Schnitzler's mantle. A few words from Pyrolator: \"It was a great honour for me to be asked to curate an edition of the Con-Struct series. Conrad's work is simply too important to turn down such an offer. The guidelines for the Con-Struct series require the curator to select individual tracks which Conrad had used in his live shows and rearrange them to create something new. I must admit, I could not resist the temptation to add one or two of my own ideas. The original tracks were so inspiring, I just had to. My prime objective was to present a side of Conrad which I had always heard in his music but one which often goes unnoticed: a darker, technoid side. In my opinion, Conrad has always been one of the great pioneers of classic Berlin techno music. I look forward to many more chapters in the Con-Struct collection. Conrad's oeuvre is so extensive and so diverse that many more fascinating aspects await discovery.\" includes cd copy of album.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973115375810,"sku":"bb189","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradpyrolatorconstruct.jpg?v=1740686482"},{"product_id":"conrad-schnitzler-andreas-reihse-con-struct-lp","title":"conrad schnitzler \u0026 andreas reihse - con-struct lp","description":"\u003cp\u003eWhen M=Minimal asked Andreas Reihse to produce a Con-Struct album for them, he didn't hesitate to accept. Andreas Reihse, member of Kreidler and solo artist is one of the most important representatives of the post-Kraut generation, he also knows and loves the music of Conrad Schnitzler. The result is this second Con-Struct album. The composition \"Con-Struct 9\" opens this work with epic spheres -- deep electronic music that only can be produced being an admirer of Conrad's sound aesthetics. Andreas Reihse starts his travel through the soundtracks of Conrad Schnitzler, showing his producer and composer skills. The tracks that follow contain some surprises. Some of the \"Con-Structs\" are groovy, in others, Reihse and Schnitzler beam us to abstract worlds. Download coupon includes bonus tracks.\u003c\/p\u003e","brand":"m=minimal","offers":[{"title":"Default Title","offer_id":44973122519234,"sku":"minimal014","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/conradreihse.jpg?v=1740686640"},{"product_id":"faust-the-faust-tapes-lp","title":"faust-the faust tapes lp","description":"\u003cp\u003eThere's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co. cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. What was lurking within the grooves was a condensed collage of outtakes, oddities, sketches and samples previously known to the band's nearest and dearest as The Faust Party Tapes -- and how you wish you'd been to those parties. Cacophonous keys and roaring drones splinter into a deranged hybrid of tumbling toms and yelping vocals; committed experimentalism which in no way prepares you for the beautiful ballad which follows. Armed with acoustic guitar, playful piano and panning vocals, Faust fashion a pastoral idyll imbued with the most profound yearning. \"Flashback Caruso\" brims with Byrds-ian jangle and Syd's psychedelia, its non-sensical English lending the piece a Confucian lyricism perfect for expanded minds. Sliced and spliced between TV snippets, dissonant trumpet and the sound of someone pissing, the utterly freaky fuzz-rock of \"J'ai Mal Aux Dents\" sounds positively radio-friendly, far less far out than if it were encountered alone. Compared to the non-musical madness beside it, this thrash-jazz trance dance makes perfect sense, as does the corrosive breakbeat of \"Two Drums, Bass, Organ\", a mutant funk workout which rivals Can in an all-German dance off. The progressive and symphonic \"Dr. Schwitters\", dissected by fragments of dissonant process music, haunted vocal takes and the proto-industrial grind of \"Elerimomuvid\", charts a course for the dark side of the moon more suited to the serious cosmonauts of the world. Then the record freefalls into disorienting drum workouts, mixing desk experiments and a wicked premonition of no-wave jazz (\"Hermann's Lament\") before taking slight respite in the beauty of \"Rudolf Der Pianist\" and \"I've Heard That One Before\". The particles of prepared piano, power tools and tape echo continue to cascade through the soundspace, gradually building into the final trilogy of \"Stretch Out Time\", \"Der Baum\" and \"Chère Chambre\", which return to conventional song structure, albeit in the group's typically twisted style. Once again though, in comparison to the wonderfully weird pieces which precede them, these three tracks are entirely accessible, and in this lies the brilliance of the album.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":45003960320194,"sku":"bb391","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/faustfausttapes.jpg?v=1742131104"},{"product_id":"ashra-correlations-complete-5cd","title":"ashra-correlations complete 5cd","description":"\u003cp\u003eThe first disc is a remastered version of the 1990 Virgin CD reissue of Correlations, recorded and mixed at Panne-Paulsen Studio, Frankfurt, in 1978 by Mick Glossop and originally released by Virgin in 1979. The second disc is the first release of Phantasus, Manuel Göttsching and Udo Arndt's original 1978 recording and mix of the album that was partially re-recorded and totally remixed to become Correlations (Phantasus was Göttsching's intended title, which he changed to Correlations after UK fans told him that the English can't pronounce \"phantasus\"). The third, fourth, and fifth discs are The Making Of, which includes a 12-page booklet. Performed by Manuel Göttsching (guitar, synthesizer, sequencer), Lutz Ulbrich (guitar, synthesizer, piano, mellotron), and Harald Großkopf (drums, percussion, synthesizer).\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":45011493781698,"sku":"mgart205","price":36.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashracorrelationscomplete.jpg?v=1742506274"},{"product_id":"sternenmadchen-gilles-zeitschiff-lp","title":"sternenmädchen-gilles zeitschiff lp","description":"\u003cp\u003eReissue of the original 1974 album by Gille Lettmann aka Sternenmädchen\/Star Maiden. Live in the Quadro Studio: Gille and Klaus Schulze. Music inserts from the LPs Seven Up (Ash Ra Temple and Timothy Leary), Lord Krishna von Goloka (Sergius Golowin), Tarot (Walter Wegmüller). Statements by Sergius Golowin, Timothy Leary, Brian Barritt, Walter Wegmüller, Liz Elliot, Rolf-Ulrich Kaiser. Recorded at the Zeitschiff Studio Dierks. Carefully transferred and remastered from the original analog master tapes by HaGü Schmitz at Dierks Studios in Pulheim-Stommeln in 2022.\u003c\/p\u003e","brand":"kosmische kuriere","offers":[{"title":"Default Title","offer_id":45105851793602,"sku":"km180126","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/sternenmadchengilles.jpg?v=1747158323"},{"product_id":"cluster-71-lp","title":"cluster-71 lp","description":"\u003cp\u003eCluster's self-titled debut was originally released by Philips in 1971; this edition is the first reissue to restore the track running order of the original Philips release. Includes liner notes by electronic avant-garde pioneer Asmus Tietchens. In 1998, The Wire listed Cluster's self-titled debut as one of \"100 Records That Set The World On Fire (When No One Was Listening).\" Very few albums from Germany can lay claim to this honor. Cluster is a monster; it contains a mere three untitled tracks and was quite an ordeal for untrained ears when it was released. Yet the album pointed the way forward like no other electronic opus. Cluster's previous incarnation was a trio called Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from the group's third member, Conrad Schnitzler, in 1970. The following year, in addition to playing live, they recorded their first album in publisher Ralf Arnie's Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until Plank's death in 1987. Early Cluster music was new. New in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duo's utter renunciation of conventional harmony and rhythm, embrace of near total aural abstraction, and confident use of noise, rigorous live electronic improvisation, and a positive mindset were all factors in Cluster's innovative trailblazing of 1971. For want of a better category, Cluster was classified rather inappropriately and incorrectly as \"cosmic.\" Few recognized Cluster for what it was -- a synthesis of pop music, stripped of embarrassing glamor, and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster, with no beginning and no end. Cluster's music is free and open in all directions. There are sounds, noises, and structures to be heard on this album that would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future.\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":45143790223554,"sku":"bb058","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/cluster71.jpg?v=1748525325"},{"product_id":"cluster-ii-cd","title":"cluster-ii cd","description":"\u003cdiv id=\"description\"\u003eCluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded ten regular studio albums between 1971 and 2009. Their debut album (Cluster 71) was in Wire Magazine's \"One Hundred Records That Set The World On Fire\" list. Cluster II is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.\u003cbr\u003e\u003cbr\u003e\"The question as to whether Cluster II has to be considered part of serious music or rather of popular music seems as obsolete today as it was back in 1972. Interestingly enough, however, the album was among the first ones to leave people in confusion when trying to tell what musical category it belonged to. As opposed to now where there is a large transitional area situated somewhere in between the two poles and made up by all sorts of electro-acoustic music, serious and popular music were still categories strictly set apart at the beginning of the seventies. Moebius and Roedelius, however, simply did not care about categorizing their music, thus contributing to the trend towards abandoning the categories altogether. When listening to Cluster II today, fifty years after it was recorded, the album's historic significance becomes as clear as never before. A lot has already been written about Cluster's historic impact. Let me just underline in this context that it was not least this album that opened up doors through which generations of electro-acoustic musicians were yet to step.\" --Asmus Tietchens\u003c\/div\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":45244286763202,"sku":"bb406cd","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/clusteriicdreissue.jpg?v=1751547428"},{"product_id":"peter-baumann-nightfall-lp","title":"peter baumann-nightfall lp","description":"\u003cp\u003eHamburg's kosmische custodians at Bureau B welcome legendary synth maestro Peter Baumann back into the studio for his first solo album since Machines Of Desire (BB 234CD, 2016). A defining force in the Berlin School of electronic music, both as a member of Tangerine Dream in their most essential era, and as a solo artist, Baumann has always bridged the cerebral and the cinematic. With Nightfall, he embarks on another sonic odyssey, crafting an atmospheric album steeped in mystery and evocative storytelling. \"Baumann's artistic vision has long been shaped by his exploration of the human condition. From his pioneering work with Tangerine Dream to his influential New Age imprint, Private Music, and his philosophical pursuits through the Baumann Foundation, his creativity and curiosity remain undiminished. Nightfall is the latest chapter in his five-decade journey -- an deeply emotional album that embraces impermanence to transport the listener into a series of shapeshifting soundscapes? The misty melancholia of opener 'No One Knows' pairs hypnotic woodblock rhythms with desert guitars, while 'Lost In A Pale Blue Sky' floats through celestial choirs and rolling timpani, evoking dreamlike introspection. Elsewhere, 'On The Long Road' pulses with insect-like percussion and serrated synth tones, exuding a ritualistic energy. Tracks like 'A World Apart' and 'From A Far Land' build tension through cascading melodies and rhythmic precision, evoking distant horizons and uncharted territories. 'Sailing Past Midnight' melds bass mallets with feedback-laden synths, conjuring a sense of movement and urgency, while 'I'm Sitting Here, Just For A While' layers snaking saxophones and hand percussion into a mystical, arcane soundscape. The album closes with the title track, 'Nightfall,' a deeply atmospheric piece wrapped in choral textures and shadowy undertones? From the very beginnings of his career, Peter Baumann has infused his work with a sense of the beyond and Nightfall is no exception. Each track invites the listener to interpret, to feel, and to immerse themselves in its crepuscular beauty? With Nightfall, the composer has created a shimmering doorway, just waiting for you to step through.\" --Patrick Ryder\u003c\/p\u003e\n\n\u003ciframe width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/1981792876\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=false\u0026amp;show_user=false\u0026amp;buying=false\u0026amp;download=false\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":45244318908610,"sku":"bb480","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/peterbaumannnightfall.jpg?v=1751547987"},{"product_id":"wolfgang-seidel-krautrock-eruption-book","title":"wolfgang seidel-krautrock eruption book","description":"\u003cp\u003eKrautrock as an escape from post-war Germany. Krautrock Eruption is a rousing counter-narrative to the usual depictions of Krautrock, written by Wolfgang Seidel, member of Conrad Schnitzler's band Eruption and co-founder of Ton Steine Scherben. Seidel's groundbreaking book, which includes unique historical photographs, paints a vivid picture of the old Federal Republic of Germany, with all of its contradictions and struggles. What is now celebrated as Krautrock emerged in this environment, and at the time was an attempt to contribute the soundtrack to the revolution. As a fly on the wall, Seidel recounts the squats, demos and first concerts of bands such as Cluster, Tangerine Dream and Ash Ra Tempel. Just as precisely and vividly, he recapitulates the influence of minimal music composers such as Steve Reich and Philip Glass, the origins of many Krautrock musicians in jazz and the role of the synthesiser. Wolfgang Seidel delivers a captivating account on Krautrock that dispels many of the founding myths of the first genuinely German pop culture, which above all did not want to be German. In addition, the book is supplemented by a discography of the 50 most important Krautrock records, written by music journalist and Krautrock expert Holger Adam. Translated from German by Alexander Paulick (member of influential Düsseldorf-based avant-garde band Kreidler). Paperback, 186 pages.\u003c\/p\u003e","brand":"ventil verlag","offers":[{"title":"Default Title","offer_id":45245025222850,"sku":null,"price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/wolfgangseidelkrautrockeruption.jpg?v=1751568202"},{"product_id":"harald-grosskopf-synthesist-lp","title":"harald grosskopf-synthesist lp","description":"\u003cp\u003e\"Harald Grosskopf was in his early twenties when LSD 'blew [his] reality away,' as he recalls. Born in Hildesheim in 1949, he had previously drummed in fairly conventional rock bands, most recently for Wallenstein. Their label-boss Rolf-Ulrich Kaiser was fond of facilitating jam sessions for musicians on his Ohr und Pilz label, often supplying his 'cosmic couriers' with LSD (unbeknown to them, on occasion). In one such session, the drug inspired something of an epiphany in Grosskopf: 'There I was playing the drums when, in the midst of my euphoria, I realized that I had been imitating other drummers. Suddenly a voice spoke to me: stop trying to sound like Billy Cobham or Ginger Baker. From that moment on I felt liberated, free to drum without having to shine in a particular role.' Having discovered his own musical identity, Harald Grosskopf understood that a standard rock combo was not the ideal conduit through which to express it. Grosskopf: 'I was completely in thrall to electronic music and the total freedom that it offered. This was the music I wanted to create. I knew it would be a success, the energy levels were so high.' Grosskopf consequently left Wallenstein. 'I fell into a hole at first, wondering what I was going to do. So I sold my prized drum kit and used the money to buy a guitar, amp and echo device.' A few days later, the doorbell rang. It was Manuel Göttsching, on his way back to Berlin from a tour of France. They knew each other from Berlin's electronic scene and recording sessions for the likes of Ash Ra Tempel. Göttsching invited Grosskopf to sign up for his new project Ashra and the rest is history: Ashra (Grosskopf, Gottsching, Lutz Ulbrich alias Luul) released a series of successful albums in the years that followed. It was not until the summer of 1979, however, that he finally felt ready to release a solo album. Synthesist comprises eight instrumentals, recorded largely by Grosskopf on his own. His melodies, carried along by synthesizers and drums, were reminiscent of works by Berlin electronic friends such as Klaus Schulze and Tangerine Dream, as well as those 'cosmic' sessions of the early 1970s -- yet each melody retains a unique timbre. Synthesist is thus regarded as a classic by electronic music enthusiasts all over the world, evoking a thrilling musical era of the past with equal capacity to excite today.\" --Christoph Dallach\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":45245057499330,"sku":"bb158","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/haraldgrosskopfsynthesist.jpg?v=1751569051"},{"product_id":"dieter-schutz-voyage-lp","title":"dieter schütz-voyage lp","description":"\u003cp\u003eBureau 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.\u003cbr\u003e\u003cbr\u003e\"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\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/7ahgjIBZNJE?si=7uG2e2iaBvSEFvsI\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":45292491473090,"sku":"bb462","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/dieterschutzvoyage.jpg?v=1752513405"},{"product_id":"klaus-schulze-la-vie-electronique-4-3cd","title":"klaus schulze-la vie electronique 4 3cd","description":"\u003cp\u003eRe-launch of the successful and famous La Vie Electronique series by Klaus Schulze. Each volume contains three CDs and an extended booklet with photos and extended liner notes. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 4 contains music from Schulzes 'golden era' in the mid '70 -- the peak of German electronic music in the 20th century.\u003c\/p\u003e","brand":"made in germany","offers":[{"title":"Default Title","offer_id":45314841477314,"sku":"mig00130","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/klausschulzelavie4.jpg?v=1753212142"},{"product_id":"ash-ra-tempel-s-t-lp","title":"ash ra tempel-s\/t lp","description":"\u003cp\u003eTransparent vinyl edition.\u003c\/p\u003e\n\u003cp\u003eFirst-ever official reissue on vinyl since 1975. Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke. Engineered by Conny Plank, it was recorded in March and June 1971 on Ohr Records. This 50th Anniversary Album will be released in memoriam of all the musical contributors to this release and on Manuel Göttsching´s MG.ART label.\u003cbr\u003e\u003cbr\u003e\"On our album, the track 'Amboss' represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album -- 'Traummaschine' -- the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin -- and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions. Thank you for your attention.\" --Manuel Göttsching (Taken from the original A-R-T Bio 1970)\u003c\/p\u003e","brand":"mg.art","offers":[{"title":"Default Title","offer_id":45487099642050,"sku":"mgart611","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ashratempelst.jpg?v=1756581755"},{"product_id":"cosmic-jokers-planeten-sit-in-lp","title":"cosmic jokers-planeten sit-in lp","description":"\u003cp\u003eThe compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, and Harald Grosskopf. Plus, Dieter Dierks, who was responsible for the recordings, arrangement, and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Ei7CY2pdVBQ?si=KA7xCiiKXk8V_fgU\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"kosmische kuriere","offers":[{"title":"Default Title","offer_id":45509183439042,"sku":"km58.013-6","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/cosmicjokersplaneten.jpg?v=1756929431"},{"product_id":"cosmic-jokers-galactic-supermarket-lp","title":"cosmic jokers-galactic supermarket lp","description":"\u003cp\u003eIn 1974, the Cosmic Jokers were basically Klaus Schulze, Manuel Göttsching, various Ash Ra Tempel and Wallenstein members doing late night jamming. Galactic Supermarket is one of them, and is more rock-oriented than many others. It's no surprise the music bears more than a passing resemblance to Ash Ra Tempel, because of Manuel Göttsching and his guitar playing. Also, Jürgen Dollase gives some nice keyboard work, particularly the piano, Farfisa electric piano, synths, and even a little Mellotron. Klaus Schulze were more responsible for the more droning organ and synth end of things, it's pretty obvious when he plays it. The legendary producer Dieter Dierks plays bass on these nearly never-ending improvisations. The recording was transferred from the original analog tapes at the Dierks Studios in Germany. Carefully remastered for an incredible result. Released on the label Die Kosmischen Kuriere (The Cosmic Couriers)\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/cVo_cS_XdL8?si=H16xDkbhTLEja0lR\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"kosmische kuriere","offers":[{"title":"Default Title","offer_id":45509215289538,"sku":"km58.008.6","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/cosmicjokersgalacticlp.jpg?v=1756929603"},{"product_id":"cosmic-jokers-sci-fi-party-lp","title":"cosmic jokers-sci fi party lp","description":"\u003cp\u003eThe compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. 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Newly transferred from the original analog tapes and carefully remastered for the first time.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/SPZSCQ26J30?si=TkLEbw-jMosOqrws\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"kosmische kuriere","offers":[{"title":"Default Title","offer_id":45509243207874,"sku":"km58.011-6","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/cosmicjokersscifiparty.jpg?v=1756929751"},{"product_id":"faust-s-t-cd","title":"faust-s\/t cd","description":"\u003cp\u003eFew debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A\u0026amp;R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner \"Zappi\" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/menuXx3oq80?si=qiOmAeJZayxeZQ-9\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":45585701011650,"sku":"bb492cd","price":17.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/faustbureaub.jpg?v=1758313126"},{"product_id":"faust-s-t-lp","title":"faust-s\/t lp","description":"\u003cp\u003eFew debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. 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