Bureau B Vinyl, CD & Tape 217 Items

The German pioneer of electronic music Conrad Schnitzler (1937-2011) amassed a vast archive of sounds for use in combination with each other in live performances. In 2011 the idea came up of con-structing new compositions, not remixes, from this material. The Con-Struct series was born. This release features con-structions by Baal & Mortimer who writes about it in the linernotes: It was exciting to break open existing material, peeling something out of the past and thus transgressing it and opening portals. Or like Wolfgang Seidel, a fellow musician of Schnitzler, quoted to me from Schnitzler"s archive: "Music is not the sound waves that reach our ears, but what we make of them." Wer ist Conrad Schnitzler Conrad Schnitzler (1937-2011), Komponist und Konzeptkünstler, ist einer der wichtigsten Vertreter deutscher Elektronikmusik-Avantgarde. Er studierte bei Joseph Beuys, gründete 1967/68 den legendären Berliner Subkultur-Club Zodiak Free Arts Lab, war Mitglied bei Tangerine Dream (mit Klaus Schulze und Edgar Froese) und Kluster (mit Hans-Joachim Roedelius und Dieter Moebius) und veröffentlichte unzählige Soloalben. Über Baal & Mortimer Seit 2014 ist Baal & Mortimer das Projekt von Alexandra Grübler, welches musikalisch und sprachlich an Fragen von Widerstand, Autonomie, Materie und Spekulation forscht. Das Debütalbum "Deixis" wurde 2020 auf Bureau B veröffentlicht und die EP "The Torso Tapes" 2021 auf Italic. Im selben Jahr veröffentlichte sie die 7"" Single "And the Sky gave up the Dead" für die Ausstellung "Journey through a Body" in der Kunsthalle Düsseldorf. Nach einem Master in Kunstwissenschaften und Philosophie lebt Baal & Mortimer derzeit in Berlin, in den Räumen zwischen Klang, Sprache und Körper. Baal & Mortimer hat mit Black Merlin, Musiccargo und Rupert Clervaux zusammengearbeitet und war 2018 Mentee von Laurel Halo im Berliner Amplify Programm.

Limited Anniversary Edition: 180g vinyl, hand numbered, 1000 copies available! In 1974, Cluster entered the sugar era. This doesn"t mean that they had finally arrived in their promised land, but they had simply moved from Berlin to the country, to a small place called Forst on the river Weser. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster.

Camouflage's combeack.

The so called "Krautrock Guerilla" is back! After touring the world for two years the Berlin threesome CAMERA recorded twelve new songs: Motorik-driven, energetic stretches laced with psychedelic overtones rise up from keyboards, drums and guitars. Hypnotic beats. Shimmering elegance, forceful bursts of garage rock, a gentle flow, spherical flight. All on Camera's new album "Remember I Was Carbon Dioxide".

Contemporary Krautrock from Berlin. 'Phantom Of Liberty' makes clear that the band has become more mature and complex without losing any of its tremendous energy.

We also offer the limited yellow colored edition.

Started as the so called “Krautrock Guerrilla” in 2012, six years later the Berlin combo Camera are releasing their fourth full-length album. Customarily associated with the likes of NEU! and La Düsseldorf it is
time to allow Camera to break free of the krautrock tradition and accept that they are very much doing their own thing now. Motto: “It's not repetition, it’s discipline”
For fans of nominative determinism, there can be few more apposite appelations than Michael Drummer. He is the catalyst, the chain mail vapour trail linking everything together as he crosses the soundscape of everything captured on Camera. The band’s moniker Camera, meanwhile, is an altogether more capricious
calling card. Camera obscura. Camera lucida. From daguerrotype to digital, self-induction to selfies. The song title Super 8 offers a potential clue to the
camera in their mind’s eye. When Super 8 was introduced in 1965, it was one of the few film formats to accommodate a sound track, occupying the
space between the edge of the film and the image area. Perhaps this will serve as a nice analogy when pondering where Camera’s music comes
from. Emotional Detox is the fourth full-length album by Camera, now a quintet, following two albums as a trio and one as a duo. The line-up on ED comprises Steffen Kahles, Michael Drummer, Michel Collet, Andreas Miranda and Timm Brockmann, all more or less based in Berlin. Drummer is the only constant through all four phases. Keyboarder Timm
Brockmann, who left the group in 2014, returns to the fold. He and Franz Bargmann, who left Camera the year before him, released a Brockmann //
Bargmann LP entitled Licht on Bureau B in 2017, a celebration of keys, guitars and effects which, at times, emulated the ferocious potential of Camera. By the time Steffen Kahles joined the band, Brockmann had
already departed, so the new ensemble adds another twist in bringing together two keyboard players from different Camera phases for the first time. The Brockmann Drummer reunion, meanwhile, completes a circle tracing back to early Camera experiences shared in 2010/11, playing on the streets of Berlin (literally).
Paradoxically, the new, expanded Camera line-up sharpens the focus of the tracks running through Emotional Detox. With Drummer not so much joining
the dots as hammering them home with a nail gun, the stronger framework allows even greater freedom for the musicians to express and ultimately align their disparate creative interests. Throw a single stone into a pond and concentric circles will ripple outwards into infinity. A swoosh of parallel lines. Boundless symmetry. The soundscape assumes the quality of a cinematic loop, like watching the same film over and over, yet discovering new things each time it plays. As a mythological Mancunian once said before the fall: it’s
not repetition, it’s discipline. Customarily associated with the likes of NEU! and La Düsseldorf perhaps it is time to allow Camera to break free of the krautrock tradition and accept that they are very much doing their own thing now. The “Krautrock Guerrilla” tag was cute and catchy for a while, but the flanged depths of
Himmelhilf sound more Bloody Valentinesque, less like echoes of Cluster or Harmonia. The motorik origins of the band documented on their debut album Radiate! (2012) and the nods to history and William Burroughs on the sophomore Remember I Was Carbon Dioxide (2014) gave way to Commodore 64 playfulness on Phantom of Liberty (2016). A spirit of experimentation still abounds on the new LP, but there’s also evidence that the group have taken a confident step towards something more “pop” – without tearing up the tangled roots beneath the surface of Camera’s studio floor. The reference points are there, but Emotional Detox is not dependent on them. We live in an age when everything happens at the same time – all of your music in one place, instantaneous streams on mobile devices, encyclopaedic references checked in seconds. The
temptation to see connections everywhere can be overwhelming, the speed at which information
travels slows us down. Emotional Detox encourages us to disregard these multiple distractions.
That’s when detoxification kicks in.

From Detroit techno and hip-hop's early sampling experiments to Terre Thaemlitz, electronic music has long proven its political potential, even in instrumental form. With "OstWest", Berlin-based electronic-kraut-dub trio Automat complete their LP trilogy with a deep and entrancing take on the failures of neoliberalism.

180g vinyl!