In einem Jahr des Mondes produziert Kreidler das Album SPELLS AND DAUBS. In einem Jahr des Mondes, und in einem Jahr mit 13 Monden, und das sind bekanntermaßen nicht die gemütlichsten Jahre.

Kreidler hatte sich im September 2020 in Düsseldorf getroffen. In den Räumen des Kabawil Theaters, für erstes Zusammenspielen, für erste Aufnahmen – das hat schon eine gewisse Tradition. Flankiert von einem einsamen Auftritt in der (ehemaligen) Philipshalle. In einem Jahr, das einem auf einen selbst zurückwarf. Über den Winter arbeitete die Band getrennt in Berlin und Düsseldorf, sie siebten das Material, arrangierten Stücke, fügten Texturen und Konturen hinzu, und trafen sich erneut im Frühjahr 2021 für weitere Aufnahmen in Hilden im Uhrwerk Orange Studio – auch das in gewisser Tradition.

Aus fünfzehn Titeln filterten sie zehn heraus. Und hielten ein Album in den Händen. Und – und das ist neu – trugen dieses nach London, zu Peter Walsh, damit dieser die Stücke mische.

Tracklist:
1. Tantrum
2. Toys I Never Sell
3. Dirty Laundry
4. Revery
5. Unframed Drawings
6. Freundchen
7. Arise Above
8. Music Follows Suit
9. Arena
10. Greetings From Dave

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Kreidler celebrate the 10th anniversary of their groundbreaking 2009 album, Mosaik 2014, with a remastered edition. The reissue of the record features an updated track list and is pressed onto 140g white vinyl.
Mosaik 2014 – that's how it is meant to sound. Arrangements that feel right, without me being able to map them out because all of the lines are woven together so intricately, and because the album was recorded mainly in a week of live sessions. Above all, this record has more. More rhythm, drums, percussion. More keyboards, better yet synthesizers that are immediate and cannot be turned away, sounds that demand something and yet retain great mystery. More off-kilter loops and more electrical storms. But it is all there to serve the same purpose: to make this the best Kreidler album of all Kreidler albums. There is a directness, and things come to the point while still leaving enough free space. There is longing, solace, fulfillment. In other words, big emotions.


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Collector, seeker and storyteller Charles Bals brings his curatorial finesse to Hamburg"s Bureau B with "Ambientale", a journey into otherworldly sounds from the years 1983 - 2000. Drifting effortlessly between digital exoticism, mellow fusion, new age groove and library electronics, the pieces range from largely obscure to utterly un-google-able, and coalesce into a stunning soundtrack to tranquil seas, desert sand and starlit skies. Cinematic & enigmatic, "Ambientale" is a stranger you"ve only just met but can"t stop thinking about.

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If you're already aware of Rüdiger Lorenz, chances are you washed ashore on 'Southland', his cult kosmische curio graciously reissued by the ever-benevolent Bureau B in the middle of the last decade. Either that, or you're one of the few hundred electronic music obsessives who encountered his work the first time round, giddily grabbing up the eighteen cassette, vinyl and CD releases the prolific part-timer delivered DIY style on his Syntape and Syncord imprints between 1981-1998. I say this because despite a catalogue both copious and singular, and a renewed interest amongst the switched on and tuned in since his premature passing in 2000, Rüdiger's reception has remained sadly subterranean - another example of audio inequity. As such, it falls to 'Synrise', attentively assembled by Rüdiger's son Tim, to shine some rightful light on this unique talent.

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Die Chronologie von Schnitzlers Solo-Veröffentlichungen in den 70er und vor allem in den 80er Jahren gleicht einem Buch mit sieben Siegeln. In zeitweise sehr kurzen Abständen brachte Schnitzler seine Musik teils auf analogen Kassetten, teils auf LPs heraus, nicht selten als "private releases", das heißt in eigener Regie und ohne Hilfe eines Labels oder professioneller Vertriebe. Das gelbe Album beispielsweise erschien 1981 als LP auf dem Label der Kunstgalerie von René Block in Berlin, nachdem Schnitzler bereits eine Reihe anderer Tonträger auf diversen Labels herausgebracht hatte. Tatsächlich ist die Musik des gelben Albums aber bereits 1974 als "The Black Cassette" in wahrscheinlich sehr geringer Stückzahl von Schnitzler selbst vertrieben worden. Das gelbe Album hat den Untertitel "12 Stücke aus dem Jahr 1974". Schon das deutet auf etwas Neues hin, denn bis dahin gingen Schnitzlers Stücke grundsätzlich über die ganze Platten- bzw. Kassettenseite. Hier versucht er sich nun erstmals an einer kürzeren Form. Außerdem neu: Schnitzler lässt auf mehreren Stücken nicht mehr nur automatische Klangprozesse ablaufen, sondern benutzt seine Keyboards offensichtlich auch, um "mit der Hand" gespielte melodie- ähnliche Improvisationen in seinen musikalischen Kosmos zu integrieren. Die eigentlich so kristalline, anorganische Kunstwelt Schnitz- lers wird damit um ein organisches, fast menschliches Element berei- chert. Durch die Musik des gelben Albums weht ein durchaus laues, freundliches Lüftchen, zum Glück meilenweit entfernt von den senti- mentalen Plattitüden der gebrauchsfertigen Ambient-Musik der 80er. Das gelbe Album ist nicht nur durch und durch freundlich, sondern es dokumentiert auch einen wichtigen Schritt in Schnitzlers musikalischer Entwicklung. Das späte Erscheinen als LP (1981) und die fehlenden diskografischen Angaben ließen diesen Gesichtspunkt etwas in den Hintergrund rücken. Aufmerksamen Hörern und Schnitzler-Kennern war jedoch sofort klar, dass das Album eine besondere Wegmarke darstellte, die einen deutlichen Weg in die Zukunft wies. Schnitzler hatte begonnen, sich aus dem Korsett der orthodoxen Konzeptkunst zu befreien, um in lichte Weiten unentdeckter musikalischer Gebiete vorzustoßen.

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Area Silenzio is eat-girls' debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades.

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White Vinyl.

Kaum zu glauben: Harald Grosskopf gibt es jetzt schon ein Dreivierteljahrhundert. Anlässlich seines 75. Geburtstags erscheint nicht nur im Ventil Verlag seine Autobiographie "Monsieur Séquenceu" - sondern auch endlich wieder ein neues Album vom Elektronik-Altmeister. Man muss zu diesem Mann eigentlich nicht viel sagen: Mitbegründer von "Wallenstein", ergo Drummer auf mindestens zwei der wunderbarsten Krautrockalben (nämlich "Mother Universe" und "Cosmic Century"), Mitglied der legendären "Kosmischen Kuriere", Platten mit Ash Ra Temple und Klaus Schulze. Schließlich wechselt Harald Grosskopf dann von den Drums zu den Sequencern und schafft Atemberaubendes. Und nun: "Strom". Die Evokation der Elektrizität, der Virtuosität der Schaltung, die Mensch und Maschine kunstvoll verschraubt und der über ihrem Triumphzug verödeten musikalischen Digitalität entgegengestellt wird. Wer genau hinhört, der erkennt den Ingenieur hinter den Klanggebilden sogleich.

Previews:
https://www.youtube.com/watch?v=04FrqpgVbhE
https://www.youtube.com/watch?v=V8Bh4Kv3MNg

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Black Vinyl.

Kaum zu glauben: Harald Grosskopf gibt es jetzt schon ein Dreivierteljahrhundert. Anlässlich seines 75. Geburtstags erscheint nicht nur im Ventil Verlag seine Autobiographie "Monsieur Séquenceu" - sondern auch endlich wieder ein neues Album vom Elektronik-Altmeister. Man muss zu diesem Mann eigentlich nicht viel sagen: Mitbegründer von "Wallenstein", ergo Drummer auf mindestens zwei der wunderbarsten Krautrockalben (nämlich "Mother Universe" und "Cosmic Century"), Mitglied der legendären "Kosmischen Kuriere", Platten mit Ash Ra Temple und Klaus Schulze. Schließlich wechselt Harald Grosskopf dann von den Drums zu den Sequencern und schafft Atemberaubendes. Und nun: "Strom". Die Evokation der Elektrizität, der Virtuosität der Schaltung, die Mensch und Maschine kunstvoll verschraubt und der über ihrem Triumphzug verödeten musikalischen Digitalität entgegengestellt wird. Wer genau hinhört, der erkennt den Ingenieur hinter den Klanggebilden sogleich.

Previews:
https://www.youtube.com/watch?v=04FrqpgVbhE
https://www.youtube.com/watch?v=V8Bh4Kv3MNg

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Parisian-by-choice Detlef Weinrich aka Tolouse Low Trax turns the page again. Always willing for a new episode, notion, impulse, idea, ideal. Searching for some light out there. Now Kiosque Versions, a compilation compiled by himself, featuring seven edits by friends and treasured artists. They renew some rare TLT tunes, as well as hits, that never took the charts by storm.

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After dipping into the archive to deliver a series of essential reissues, Bureau B continue to encourage the chaotic brilliance of Faust with an LP of brand new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther Wüsthoff. Over the years Faust has become many things, each as separate as the fingers, but as together as the hand which makes up their eponymous fist. From 1971 to 1974 the Hamburg band blazed a bold sonic trail, helping to create the distinct and delirious strand of German music we"ve come to know as Krautrock. Uncompromising, innovative and experimental, their releases in that period, and the stories accompanying their creation, are nothing short of legendary, and the fact that after a hiatus, the band returned and remained active in a variety of separate and simultaneous incarnations is entirely fitting for these musical revolutionaries. On Blickwinkel, Diermaier"s incarnation embrace synchronicity and chance in order to capture the moment in a six track snapshot of industrial churn, unsettling ambience and psychedelic motorik.

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Tip!

"Like everyone else in 2020, all of a sudden we found ourselves in the midst of a global pandemic and weeks of isolation at home, and so NEOSTALGIA also serves as our personal Corona diary. We got interrupted in between by film projects, so it took a little longer to get to the finish line. Which makes us all the happier today to finally hold this album in our hands." - Heiko Maile + Julian Demarre

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Sähkömies is Jimi Tenor's solo debut from his NYC period in early 90's. Sähkömies (Electrician) is a mixture of great melodies embedded to Tenor's first ideas of his SunRa-flavoured jazz tableau. The album is combining Tenor's smokey sax with lo-fi electronics and experimentations with techno synths like Roland 303&606.

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Limited Clear Vinyl!

Sähkömies is Jimi Tenor's solo debut from his NYC period in early 90's. Sähkömies (Electrician) is a mixture of great melodies embedded to Tenor's first ideas of his SunRa-flavoured jazz tableau. The album is combining Tenor's smokey sax with lo-fi electronics and experimentations with techno synths like Roland 303&606.

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Nachdem 2023 der technotropische Pop von Supersempfft durch die Wiederveröffentlichung der zweiten LP "Metaluna" (1981) vorgestellt wurde, beamt sich das Hamburger Label Bureau B 2024 ein paar Jahre zurück, um mit "Roboterwerke" (1979) das herausragende Debüt der Hessener Band zu präsentieren. Das kollaborative Vehikel karrt durch den Kosmos wie ein Hochleistungsclownsauto, das gewagte Akkordprogressionen, technische Innovationen und einen Haufen Hooks hinter seinem Cartoon-Chassis verbirgt und die glücklichen Hörer*innen mit auf seine Spritztour nimmt.

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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.

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Tracklisting
A1 Shabaam & Aladarus - Colossal
A2 Lenny San - Orbital
B1 OFF / GRID - Inner City Blues
B2 Rove Ranger - Onakum

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In September 1968, AMON DÜÜL played the 'International Essener Songtage', Germany's first rock festival of five days duration, which was initiated by the later Ohr label boss Rolf-Ulrich Kaiser. The Berlin hit producer Peter Meisel heard and saw the band there and spontaneously signed them, along with Tangerine Dream and Birth Control. AMON DÜÜL was close to the Berlin 'Kommune 1' and came together at a time when everyone was an artist who wanted to be one. Anyone who wanted to could also be a musician. As a collective, anything was possible. In Meisel's studio, Angelika and Helge Filanda, Wolfgang Krischke, Ulrich Leopold, Rainer and Ella Bauer, Peter Leopold and Uschi Obermaier, sky-high as it was state of the art, recorded a session that broke every rule and turned all listening habits inside out. The recordings initially went into the poison cabinet: it was not before a year later that Meisel dared to publish them under the title Psychedelic Underground. Here's more: The double LP Disaster&Lüüd Noma was released in 1972, when the group AMON DÜÜL didn't exist anymore, and it presents further recordings from the same session. All titles are untranslatable surrealistic plays on words, the tracks, compared to the first LP, are better organized in terms of sound, less fragmentary, more clearly separated from each other and edited more sophisticatedly - the note that all glitches and errors are intentional is meant tongue-in-cheek, of course, but nevertheless has an element of truth. Now these memorable recordings are available again, remastered from the original analog tapes. As already the first record, Disaster&Lüüd Noma is a document of a zeitgeist that has remained unrepeatable. Anyone who is seriously interested in the beginnings of Krautrock cannot ignore this album - disaster is waiting just for you

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MOFAK, the funkiest producer from the south of France (Marseille), is back with a double Modern Boogie single just the way we like it!
A side: the bass of the single sets the tone over a fat beat featuring the vocals of Saïd (IAM) and Elois Scroggins! The vocoder gives us a real treat, and the chorus takes it all in and sets the dancefloor alight!
B Side : Big beats and groovy bass are the recipe for the intro, then AprilSoul takes it all in when the synthesizers kick in! Mofak on vocoder lifts the track, then the chorus kicks in and keeps us on the edge of our seats until the awesome guitar chorus forces us to play Air Guitare ! !
With this double single, Mofak confirms his Modern Boogie level of production and makes it clear that we'll have to keep a close eye on him in the shops.

A - Rock Your Money feat Saïd & Enois Scroggins
B - System 3.0 feat AprilSoul

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Cultivated Electronics starts off its 2024 release schedule with an all electro family affair from father and son duo The Advent and Zein Ferreira. "Elektronically Minded EP" is the first of two releases scheduled on the label from them this year. For this first instalment the pair turn in two tracks of expertly crafted production that pays homage to the history of the genre with their own modern twist. The A side's "Basic Channeling" is given remix treatment from Robert Witchoski a.k.a. The Exaltics who steps up the gears with a 4/4-esqe rework in his signature style. To close out the EP, remix duty stays in the family with a rework of "Syncopated", a track that features on the next EP, nephew of Cisco and cousin of Zein, Torai, who shows that high end electro production definitely runs in the veins of the Ferreira family.

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Tracklisting
A1 Plants Army Revolver - Rhythmic Rituals
A2 Modes - Lubeni
B1 Alan Backdrop - Nezera
B2 First Order Approximation - Formal Attraction

Sales Note
SENSE001 showcases an indisputable attention in sewing hypnotic and atmospheric textures, offering a conscious and introspective experience for dancefloors.



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Immerse yourself into the psychedelic electronic pop of Talee, a rising Dutch artist weaving together the tapestry of contemporary indie dance with threads of early 90s British contaminated indie rock.

A multi-instrumentalist, previously championed by Disco Halal, Talee is set to unleash his debut EP “Waiting for Tomorrow” on the esteemed Californian label Underground Pacific, promising an unforgettable sonic journey.

Talee’s music transcends the boundaries of genre, seamlessly blending the warm rhythms and catchy melodies of Watherall’s Primal Scream and the lysergic groove of Happy Mondays with contemporary electronic textures.

This debut EP serves as a powerful statement of Talee’s artistic vision, showcasing his unique neo-romantic wave songwriting and great capturing riffs. The release also features an exciting collaboration with the acclaimed Irish Sullivan brothers SX2, who lend their signature touch to a captivating remix of “How High?” recalling the early irreverent and raving Underworld energy. Joining them is none other than Cantor, the musician and producer behind Underground Pacific himself, ensuring a Burning Man sunrise-inspired remix of “Be Here Now”.

The EP’s visual identity mirrors Talee’s artistic creativity with artwork conceptualized by the artist himself, complementing the music and offering a glimpse into Talee’s vibrant inner world.

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Mofak is an artist from Marseille (France) who has been active in the world of Funk and G-Funk for many years, mastering the art of the Talk-Box to perfection. After collaborating with major artists such as X-Zibit, Kurupt & McEight, he's back with a solo project.
His music is even more open, with not only a Funk and G-Funk sound but also a Nu-Disco flavour that brings together even more generations and audiences.
There's no doubt that fans and newcomers alike will find something to enjoy.

A1. Cosmic Kisses (Feat Daniel David)
A2. Groupy Love
A3. Superfluous Feat Nic hanson)
A4. In the Mothership
B1. My Love
B2. What u Want (Feat Sally Green)
B3. Down (Feat Uncle Sean)
B4. Monkey Wasnt Fonky (Feat Kokane)

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