This career spanning retrospective box set features
10 black Vinyl LPs, complete with newly remastered
versions of all five of their Mute/Geffen albums, That
Total Age, Belief, Showtime, Ebbhead, and Big
Hit, plus 5 LPs of 29 bonus tracks, featuring
B-sides, and rare 12” mixes. The original artwork for
each album has been expanded into gatefold
sleeves, with embossing and spot UV finish. It also
contains a large size 28-page booklet with linear
notes by Douglas McCarthy and Bon Harris and
unseen photos, flyers and artwork. The box also has
accommodated their first self released album Basic
Pain Procedure, from 1983 and their last release
Industrial Complex from 2010, by leaving adequate
space inside, to complete the collection by the fans,
as these titles have been in print in recent years.

Basic Pain Procedure Double Red/Clear/White Splatter Vinyl LP (2012 Master)

Side 1
1. Faded Smiles
2. Tradition
3. The Home
4. Star

Side 2
1. The Passage
2. The Book
3. Crane
4. Trust Ran In Colours



That Total Age Double Red Translucent Vinyl LP (2018 Remaster)

Side 1
1.Fitness To Purpose
2.Warsaw Ghetto
3.Violent Playground
4.Murderous

Side 2
1. Smear Body
2. Join In The Chant
3. Alarm
4. Let Your Body Learn

Side 3
1. Let Beauty Loose
2. Into The Large Air
3. Murderous (Instrumental) - Bonus
4. Fitness to Purpose (Mix Two) - Bonus

Side 4
1. Join In The Chant (Burn! 12” Mix) - Bonus
2. Let Your Body Learn (12” Mix) - Bonus
3. Join In The Chant (Metal Mix) - Bonus



Belief Double Clear Vinyl LP (2018 Remaster)

Side 1
1. Hearts and Minds
2. For Fun
3. Control I’m Here
4. Captivate
5. T.W.A

Side 2
1. Blood Money
2. Shame
3. Drive
4. Without Belief

Side 3
1. Control I’m Here (Command Control Confront Mix) – Bonus
2. Shame (Mix no 2 William Orbit) – Bonus
3. K.I.A. (PK Mix) – Bonus

Side 4
1.Captivate (William Orbit Mix) – Bonus
2.Hearts & Minds (Mix Subsonic) – Bonus
3.Backlash (William Orbit Mix) – Bonus



Showtime Double Opaque Orange Vinyl LP (2018 Remaster)

Side 1
1. Getting Closer
2. Nobody Knows
3. One Mans Burden
4. All Over
5. My Heart

Side 2
1. Lightning Man
2. Rope
3. Hold On
4. Fun To Be Had

Side 3
1. Lightning Man (The Industry Vs. The Ebb Remix) – Bonus
2. Fun To Be Had (Long Mix George Clinton) – Bonus
3. Getting Closer (The Kitchen Mix) – Bonus

Side 4
1. Fun To Be Had (Dust Brothers Master Mix) – Bonus
2. Lightning Man (RSW Mix) – Bonus
3. Getting Closer (The Trance Mix) – Bonus



Ebbhead Double Vinyl Translucent Green & Red LP (2018 Remaster)

Side 1
1. Reasons
2. Lakeside Drive
3. I Give To You
4. Sugar Sweet
5. DJVD

Side 2
1. Time
2. Ascend
3. Godhead
4. Trigger Happy

Side 3
1. Family Man (Jaz Coleman Mix) - Bonus
2. Come Alive (Alan Wilder Mix) - Bonus
3. Lovesick (Flood Mix) - Bonus
4. Higher (Barry Adamson Mix) - Bonus

Side 4
1. Ascend (Vince Clarke Anonymous Mix) - Bonus
2. I Give To You (Pestilence Mix) - Bonus
3. Godhead (Remix) - Bonus



Big Hit Double Translucent Yellow Vinyl LP (2018 Remaster)

Side 1
1. Cherry Blossom
2. Hear Me Say
3. Kick It
4. I Thought

Side 2
1. Flood Water
2. Border Talk
3. In Decline
4. Living Out Of A Bag

Side 3
1.Boy
2.Our Own World
3.Friend (Brittle Mix) - Bonus
4.Beats Me - Bonus

Side 4
1. Kick It (Adrian Sherwood Compulsion Edit) - Bonus
2. Kick It (Popular Music Mix) - Bonus
3. I Thought (Final Sin) - Bonus

.

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Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.

The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to.

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"Auf dem schwarzen Kanal" is one of the most outstanding, most sought-after releases in Conrad Schnitzler’s
extensive catalogue. 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!

Tracklisting

A1. Auf dem schwarzen Kanal
A2. Fabrik
B1. Der Wagen rollt
B2. Elektroklang

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Anarcho Punk was the one sub-genre of Punk that emerged in isolation from the rock & roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialised mainstream Punk scene. It continues to do so. Anarcho Punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away.

The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.

The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.

This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.

The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament.

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Repress!

Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source.

Their inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges. As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves.

The two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time.

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