The postman rings for longer than usual. He has a poem with him, which he reads: Title: "Like A Stuntman" --
Symptoms of the ocular / Yesterday euphoria / Dog show digest.
Ooze yeah ooze / Hell, no sport / Boy campaign.
Sentimental education / A decade or less / YOY
Y-O-Y ? (or Why, Oh Why?)
He speaks the final words with elongated vowels -- the sound of an animal, a plant, an instrument. We listen reverently as the verse fades away. It's an autumn poem, without a doubt: a bit bumpy, its breadth not immediately apparent, but one senses that there is something right about it. You slip the record out of its cover and put it on. Noise. Goofy dances. Washed-out pictures, pulled too soon from the Polaroid, held in the wind, faded, warped, covered with earth, immersed in ashes, swept through the water, caught in traps. This is how the vastness, the mid-west, the coast and desert find their way into their world of sound. They understand the beauty of the surface -- that's why their music is so iridescent. Amongst it is a crafty rustling, an oscillation, linking the songs. Sounds hover behind water, the vocal goes haywire. Discordant harmonies.

Artist:	MOEBIUS & RENZIEHAUSEN
Title:	Ersatz
Label:	BUREAU B (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	BB 091CD

Bureau B reissues this collaboration between Dieter Moebius and Karl Renziehausen, initially released on the Pinpoint label in 1990. Liner notes by Asmus Tietchens. "1990 sees Dieter Moebius enter new musical territory, cautiously reconnoitering the digital world. His companion on this excursion is Karl Renziehausen, a visual artist and constructor of sound sculptures. The two of them distance themselves sonically and musically from existing Moebius collaborations with Conny Plank and Gerd Beerbohm (almost all of which have been reissued on Bureau B); similarly, only sporadic echoes can be heard of Cluster and Harmonia, two projects whose style Moebius influenced significantly over a number of years. There is an exactness to the music of Moebius and Renziehausen, who allow nothing to stray from their chosen path. They stage seven little musical comedies with different plots, much as if they were writing for the theater. Common to each of the pieces is a prevailing mood of surrealism: Moebius appears to have an unlimited menagerie of imaginary sonic creatures at his disposal, introduced to the audience in a clearly discernible framework of dramaturgy. Their actions are utterly unpredictable, the 'plot' develops in the listener's head. Renziehausen constructs the space: moving scenery to accommodate wonderful transparency and depth, as warm, bright light affords a clear view of each and every delectable detail. Ersatz is music at its most pictorial, far removed from cheap, programmed music. Although Moebius and Renziehausen frequently cross the boundaries of tonality, they still remain firmly grounded. The connection to the real world is never completely severed. Which is what makes this music so puzzling to anyone willing to engage with it: the occasional fleeting sense of something familiar, yet no sooner than something appears which one might have heard before, it disappears again, replaced by something new and unrecognizable. Listeners can look forward to nine meticulously crafted soundscapes of uncharted, fantastic regions. Soundscapes, perhaps, of some imitation paradise? Rather than measure this album by a musical yardstick then, one ought to evaluate it as one of the great discoveries in its own right." --Asmus Tietchens

Artist:	MOEBIUS & RENZIEHAUSEN
Title:	Ersatz
Label:	BUREAU B (GERMANY)
Format:	LP
Price:	$17.00
Catalog #:	BB 091LP

LP version on 180 gram vinyl. Bureau B reissues this collaboration between Dieter Moebius and Karl Renziehausen, initially released on the Pinpoint label in 1990. Liner notes by Asmus Tietchens. "1990 sees Dieter Moebius enter new musical territory, cautiously reconnoitering the digital world. His companion on this excursion is Karl Renziehausen, a visual artist and constructor of sound sculptures. The two of them distance themselves sonically and musically from existing Moebius collaborations with Conny Plank and Gerd Beerbohm (almost all of which have been reissued on Bureau B); similarly, only sporadic echoes can be heard of Cluster and Harmonia, two projects whose style Moebius influenced significantly over a number of years. There is an exactness to the music of Moebius and Renziehausen, who allow nothing to stray from their chosen path. They stage seven little musical comedies with different plots, much as if they were writing for the theater. Common to each of the pieces is a prevailing mood of surrealism: Moebius appears to have an unlimited menagerie of imaginary sonic creatures at his disposal, introduced to the audience in a clearly discernible framework of dramaturgy. Their actions are utterly unpredictable, the 'plot' develops in the listener's head. Renziehausen constructs the space: moving scenery to accommodate wonderful transparency and depth, as warm, bright light affords a clear view of each and every delectable detail. Ersatz is music at its most pictorial, far removed from cheap, programmed music. Although Moebius and Renziehausen frequently cross the boundaries of tonality, they still remain firmly grounded. The connection to the real world is never completely severed. Which is what makes this music so puzzling to anyone willing to engage with it: the occasional fleeting sense of something familiar, yet no sooner than something appears which one might have heard before, it disappears again, replaced by something new and unrecognizable. Listeners can look forward to nine meticulously crafted soundscapes of uncharted, fantastic regions. Soundscapes, perhaps, of some imitation paradise? Rather than measure this album by a musical yardstick then, one ought to evaluate it as one of the great discoveries in its own right." --Asmus Tietchens

Artist:	MOEBIUS & RENZIEHAUSEN
Title:	Ersatz II
Label:	BUREAU B (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	BB 092CD

Bureau B reissues the second collaboration between Dieter Moebius and Karl Renziehausen, originally released in 1992 on the Spanish Nova Era label. Liner notes by Asmus Tietchens. "Two years after the release of Ersatz (1990), Moebius and Renziehausen issued Ersatz II as the culmination of their ongoing studio collaboration. It is as meticulously-crafted as Ersatz, dipped in the same luminance and confounds with a similar wealth of musical ideas. And yet Ersatz II does not simply carry on where Ersatz left off. Moebius and Renziehausen composed and improvised quite intuitively on Ersatz, emptying their music of messy ballast, yet adding decorous, delicate detail. This is even more true of Ersatz II, with the marked difference that the music has become even more transparent and the individual tracks shorter in length. The two sound artists reach an almost ascetic level with their unwavering concentration on musical substance and the deliberateness of their creative approach. 'Almost' is the word, for this is a pop album with all of the vibrancy associated with this world. It is neither minimalist in the academic sense nor suitable for any form of meditative exercise, the brevity of the tracks already enough to preclude this. The album also differs from Ersatz rhythmically: it is almost danceable. Again, only 'almost,' as Renziehausen and Moebius defy conventional rules of rhythm to such an extent that one might easily stumble. Harmonies and melodies, on the other hand, appear immediately familiar. Nevertheless, listeners will still have a sense of standing (or listening) on shaky ground. Ersatz II defines pop music in an idiosyncratic, rather odd manner, using the same pieces but coming up with whole new patterns. If there were such a thing as a kaleidoscope with asymmetrical pictures, then this would be something to which one could compare the music of Ersatz II. Colorful, shimmering and always a little off-kilter. When Ersatz II appeared almost 20 years ago, this form of electronic music had no place in the hype of the early '90s. Moebius and Renziehausen were not bothered in the slightest, instead working towards the goal of their own musical world, a place as vivid and imaginative as possible. Far removed from turgid abstraction, Ersatz II is particularly enjoyable as the two musicians can really be heard playing with one another, intelligently, spontaneously and more than adeptly." --Asmus Tietchens

Artist:	MOEBIUS & RENZIEHAUSEN
Title:	Ersatz II
Label:	BUREAU B (GERMANY)
Format:	LP
Price:	$17.00
Catalog #:	BB 092LP

180 gram LP version. Bureau B reissues the second collaboration between Dieter Moebius and Karl Renziehausen, originally released in 1992 on the Spanish Nova Era label. Liner notes by Asmus Tietchens. "Two years after the release of Ersatz (1990), Moebius and Renziehausen issued Ersatz II as the culmination of their ongoing studio collaboration. It is as meticulously-crafted as Ersatz, dipped in the same luminance and confounds with a similar wealth of musical ideas. And yet Ersatz II does not simply carry on where Ersatz left off. Moebius and Renziehausen composed and improvised quite intuitively on Ersatz, emptying their music of messy ballast, yet adding decorous, delicate detail. This is even more true of Ersatz II, with the marked difference that the music has become even more transparent and the individual tracks shorter in length. The two sound artists reach an almost ascetic level with their unwavering concentration on musical substance and the deliberateness of their creative approach. 'Almost' is the word, for this is a pop album with all of the vibrancy associated with this world. It is neither minimalist in the academic sense nor suitable for any form of meditative exercise, the brevity of the tracks already enough to preclude this. The album also differs from Ersatz rhythmically: it is almost danceable. Again, only 'almost,' as Renziehausen and Moebius defy conventional rules of rhythm to such an extent that one might easily stumble. Harmonies and melodies, on the other hand, appear immediately familiar. Nevertheless, listeners will still have a sense of standing (or listening) on shaky ground. Ersatz II defines pop music in an idiosyncratic, rather odd manner, using the same pieces but coming up with whole new patterns. If there were such a thing as a kaleidoscope with asymmetrical pictures, then this would be something to which one could compare the music of Ersatz II. Colorful, shimmering and always a little off-kilter. When Ersatz II appeared almost 20 years ago, this form of electronic music had no place in the hype of the early '90s. Moebius and Renziehausen were not bothered in the slightest, instead working towards the goal of their own musical world, a place as vivid and imaginative as possible. Far removed from turgid abstraction, Ersatz II is particularly enjoyable as the two musicians can really be heard playing with one another, intelligently, spontaneously and more than adeptly." --Asmus Tietchens

Artist:	SCHNAUSS & MARK PETERS, ULRICH
Title:	Underrated Silence
Label:	BUREAU B (GERMANY)
Format:	CD
Price:	$15.50
Catalog #:	BB 094CD

Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Göttsching, for example. A brother in spirit to Robin Guthrie, one might say -- an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following in the footsteps of his musical paragons. Engineers have released wonderful albums of dream-pop, infused with the same spirit as the solo efforts of Schnauss. Peters and Schnauss have been friends for many years and over a year ago, Schnauss joined the ranks of Engineers. For the past couple of years, they have been meeting up sporadically and making music. The fruits of these sessions served as the basis for the ten tracks on this joint album. More used to traditional songwriting, the working process was new to Peters. In the absence of conventional structures, the sole aim of creating an atmosphere was an approach he was somewhat unfamiliar with, but one he found liberating. Working only at night was a decisive factor for Peters, lending the music a somnambulant quality -- an effect that was intentional, striving to create something which cannot be ascribed to a particular musical category or zeitgeist. For Schnauss meanwhile, conjuring up an atmosphere through music is the most normal thing in the world: he creates music for those little escapes. On this latest album, Schnauss brings the piano more into play than usual, which enhances the overall impression splendidly. Underrated Silence is a quiet album, for the most part. Its multi-layered fabric reveals something new every time one listens to it -- a wealth of fresh discoveries, new rhythms emerging from the sound cloud, hitherto unnoticed melodies illuminating the background. Schnauss and Peters have crafted music which is enchanting in the truest sense of the word -- shimmering sounds, floating echoes, rhythmically reverberant chords which wrap themselves around the listener, lifting you into a state of suspension and carrying you gently away.

Artist:	SCHNAUSS & MARK PETERS, ULRICH
Title:	Underrated Silence
Label:	BUREAU B (GERMANY)
Format:	LP+CD
Price:	$17.00
Catalog #:	BB 094LP

LP version, including a free CD of the entire album. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Göttsching, for example. A brother in spirit to Robin Guthrie, one might say -- an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following in the footsteps of his musical paragons. Engineers have released wonderful albums of dream-pop, infused with the same spirit as the solo efforts of Schnauss. Peters and Schnauss have been friends for many years and over a year ago, Schnauss joined the ranks of Engineers. For the past couple of years, they have been meeting up sporadically and making music. The fruits of these sessions served as the basis for the ten tracks on this joint album. More used to traditional songwriting, the working process was new to Peters. In the absence of conventional structures, the sole aim of creating an atmosphere was an approach he was somewhat unfamiliar with, but one he found liberating. Working only at night was a decisive factor for Peters, lending the music a somnambulant quality -- an effect that was intentional, striving to create something which cannot be ascribed to a particular musical category or zeitgeist. For Schnauss meanwhile, conjuring up an atmosphere through music is the most normal thing in the world: he creates music for those little escapes. On this latest album, Schnauss brings the piano more into play than usual, which enhances the overall impression splendidly. Underrated Silence is a quiet album, for the most part. Its multi-layered fabric reveals something new every time one listens to it -- a wealth of fresh discoveries, new rhythms emerging from the sound cloud, hitherto unnoticed melodies illuminating the background. Schnauss and Peters have crafted music which is enchanting in the truest sense of the word -- shimmering sounds, floating echoes, rhythmically reverberant chords which wrap themselves around the listener, lifting you into a state of suspension and carrying you gently away.

Artist:	39 CLOCKS
Title:	Subnarcotic
Label:	BUREAU B (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	BB 095CD

Retrospectively, one could impute Hanover of the late 1970s and early 1980s with the glamorous tristesse normally associated with places like Manchester. But it was probably just dull and nothing more. It was here that the band 39 Clocks came into existence, earning the greatest compliment one could possibly pay them: they were a foreign body. Everything about this band must have unnerved their contemporaries: The 39 Clocks did not sing in German. This, at a moment when, for the first time since the end of the Second World War, it was possible to hang a "cool" tag on the German language. Think Neue Deutsche Welle (German New Wave). Commercial suicide. And the Clocks looked like no one else: grainy black and white photographs reveal two thin men dressed in factory issue black. Wearing sunglasses, they are only dimly recognizable. Elusive and impossible to categorize: a little bit weird. Fittingly, they discarded their names and classified themselves as machines: J.G.39 and C.H.39. A sense of the unreal pervaded their music: sizzling, trippy, repetitive. Allusions to late 1960s psychedelia, to Can, are on the money. Subnarcotic is the second 39 Clocks album. It still has the capacity to unsettle, it still sounds strange. The conscious (or perhaps unconscious) refusal to flex their muscles, to feel the groove, would be echoed by many lo-fi bands a decade later, but few would match their radical modus operandi. The 39 Clocks brought together what did not belong together: noise and fragility, '60s garage punk and synthesizers. Manic, chaotic and yet: pop music. In England they would have been welcomed with open arms by the likes of Rough Trade or Factory. In Germany, however, reactions were extremely different. Mastered from the original tapes; better sound quality than the original. Includes a previously-unreleased bonus track.

Artist:	PYROLATOR
Title:	Inland
Label:	BUREAU B (GERMANY)
Format:	LP
Price:	$17.00
Catalog #:	BB 097LP

LP version. Pyrolator's Inland (originally released in 1979) provides musical commentary on the late '70s in West Germany, with its undercurrent of paranoia and violence. Inland is one of the most radical, modern and unconciliatory albums of its, or any other, time. The cover for Inland illustrates this atmosphere: tones of grey and brown instead of '70s bliss. The political situation in West Germany is at its most volatile. The war between the Rote Armee Fraktion (RAF) and the State escalated two years before. The spirit of departure which characterized the early years of government by Willy Brandt and the socialist-liberal coalition, dissolved in the so-called "years of lead." Taking part in a demonstration against occupational bans could lead to the very same, and the chances of falling into a terrorist manhunt or staring a gun in the face were not so slim, particularly for young people. Pyrolator's aim was to make a protest album, one detached from all convention. A total absence of common musical structure and an unfiltered rush of sound recordings create a nightmarish, claustrophobic atmosphere. Pyrolator used a Korg MS20, SQ10 sequencer, B20R home organ, a Davolisint synthesizer, a Logan string orchestra and a dual-channel tape machine. Inland is both a rejection of the new form of protest song, the throaty, despairing scream of punk rock, and a rejection of the traditional form of protest song as nurtured far into the 1980s by the bards of the green, alternative milieu. Furthermore, there is another side to Inland: a desire for something new, a passion for experimentation, seeking to extend one's own horizon and that of others. This desire runs through all of Pyrolator's work, from his Inland debut to his 2011 release Neuland (BB 084CD). Thus Inland remains, in spite of its protests and rejections, a positive album. For inherent in every "no" is a "yes" to something else. Maybe something better.

Artist:	PYROLATOR
Title:	Ausland
Label:	BUREAU B (GERMANY)
Format:	LP
Price:	$17.00
Catalog #:	BB 098LP

LP version. Just two years separate Pyrolator's 1979 debut Inland and the 1981 album Ausland. Nevertheless, they could hardly be more different from one another. If Inland reflects the industrial decay and politically-explosive atmosphere of 1977 and the years thereafter in the Federal Republic of Germany, then Ausland is a buoyant, playful and yet groundbreaking pop album. There had been some significant developments since 1979. The Ata Tak label, which Pyrolator had co-founded, had hit a rich vein of form with the debut album by Der Plan (Pyrolator was also a band member), Andreas Dorau's hit single "Fred Vom Jupiter" and Holger Hiller's debut single. Pyrolator made his first trip to the USA, travelling the land from east to west over a period of three months. This all paved the way for the production of Ausland and pointed the way ahead for the Ata Tak label as well. On the West coast, Pyrolator met up with the Los Angeles Free Music Society (LAFMS), a collective in the process of exploring the frontiers between noise and industrial on the one hand and easy listening on the other. It was the influence of such free spirits which opened up the Ata Tak world and that of Pyrolator to "Schlager" and its American equivalent, easy listening. This mix of electronic elements and supposedly left-field pop music of times past runs through the Ata-Tak oeuvre and, with the benefit of hindsight, can be identified as the label's trademark. A further difference to Inland is that a long list of musicians participated in the Ausland recordings. In the USA, Pyrolator played together with designer Chris Lunch and his brother as support act for the likes of DNA and X. This moved Pyrolator to decide that he would not produce his next album alone, but with other musicians and technicians. With the help of the genius Werner Lambertz, inventor of "Brontologik," a forerunner of midi systems, and Ata Tak and Der Plan cohort Frank Fenstermacher, Pyrolator recorded the backing tracks on which other musicians would subsequently play their overdubs. The critics were in agreement when Ausland was released. From the progressive Sounds to the rather more traditional Musikexpress, all the way to the British New Musical Express (NME), the album met with universal praise. NME heralded Pyrolator as a "great pioneer" and quite right, too. He is still a pioneer today. Vinyl contains 6 bonus tracks, mastered from the original tapes.

Artist:	JUNIOR ELECTRONICS
Title:	Musostics
Label:	BUREAU B (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	BB 099CD

Junior Electronics is the solo work of musician and sound engineer Joe Watson. Joe has played keyboards with Stereolab since 2004 and engineered their last three albums. He has also worked with The High Llamas, Monade, Mary Hampton, John Cunningham and others. He runs the studio flipflop in his hometown of Brighton, UK. Musostics is the second album by Junior Electronics and is a collection of musical mesostics. The typographic layout of the lyrics and song titles is a structuring principle. The computer is used as a tape machine, i.e. large scale splicing of songs is possible but editing individual rhythmic events is not. All instruments are analog as is all mixing and processing. With contributions from Mary Hampton and Isidore Guild (vocals), Grant Allardyce (drums), Alan Hay (lyrics) and Emilie Essel (artwork and critical listening).

Artist:	JUNIOR ELECTRONICS
Title:	Musostics
Label:	BUREAU B (GERMANY)
Format:	LP+CD
Price:	$17.00
Catalog #:	BB 099LP

LP version plus CD. Junior Electronics is the solo work of musician and sound engineer Joe Watson. Joe has played keyboards with Stereolab since 2004 and engineered their last three albums. He has also worked with The High Llamas, Monade, Mary Hampton, John Cunningham and others. He runs the studio flipflop in his hometown of Brighton, UK. Musostics is the second album by Junior Electronics and is a collection of musical mesostics. The typographic layout of the lyrics and song titles is a structuring principle. The computer is used as a tape machine, i.e. large scale splicing of songs is possible but editing individual rhythmic events is not. All instruments are analog as is all mixing and processing. With contributions from Mary Hampton and Isidore Guild (vocals), Grant Allardyce (drums), Alan Hay (lyrics) and Emilie Essel (artwork and critical listening).

Artist:	D.A.F.
Title:	Produkt Der Deutsch-Amerikanischen Freundschaft
Label:	BUREAU B (GERMANY)
Format:	CD
Price:	$17.00
Catalog #:	BB 101CD

Bureau B reissues the first Deutsch-Amerikanische Freundschaft album, originally released in 1979. True D.A.F. connoisseurs will, of course, be aware of the early phase of the Düsseldorf-Wuppertal combo. But most fans of the subsequently world-famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, Gabi Delgado and leather all conspicuously absent. In their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types. A band can barely have undergone a more extreme metamorphosis. Gabi Delgado joined the band (hitherto comprising Robert Görl, Kurt Dahlke/Pyrolator, Wolfgang Spelmans and Michael Kemner), before the band discarded the name of YOU and christened themselves Deutsch-Amerikanische Freundschaft. And he was also on board for the first recording sessions at Studio 56 in Mühlheim. Disappointed with the results ("too close to Schlager," the band thought) and "less than happy" with Delgado's vocals and lyrics (as Pyrolator, responsible for electronics, noted), the group dispensed with Delgado's services. Yet the creative will was undiminished: "We really wanted to make a record. All the Düsseldorf bands -- Male, Mittagspause -- already had an album out, everyone except us," and with the singer now gone, an instrumental album was the only option. In the wake of the studio debacle, the decision was made to take the recording into their own hands. A tape machine and two microphones were set up in Wolfgang Spelmans' living room and ten days of unbounded improvisation ensued. And thus it was completed, Produkt der Deutsch-Amerikanischen Freundschaft: 22 tracks, ranging from 19 seconds to three minutes in length. The influence of Can is clearly audible. Considering the fact that other prominent noise-rock bands such as Chrome, Flipper or even Sonic Youth recorded similar music at a much later date, this "product of Deutsch-Amerikanische Freundschaft" should certainly be recognized as a pioneering work. Possibly even the first noise-rock album the world had seen or heard. Was the world ready for such brutal, nihilistic sounds in the late 1970s? The world of record companies was not. Unable to find a label, D.A.F. proved to be not only pioneers of noise, but also pioneers of DIY. They found help from the local bank, with Pyrolator putting up his car for credit amounting to 3000 Marks. A logical step, as he was already running a cassette label called Warning Records (later becoming Ata Tak). Produkt Der Deutsch-Amerikanischen Freundschaft was the first LP on the label and was given the catalog number WR 01/LP/1979. Sales were so good that Pyrolator was able to pay back his loan quickly. Housed in a digipak with liner notes, rare photos and memorabilia.

Artist:	SCHNAUSS & MARK PETERS, ULRICH/PYROLATOR
Title:	Exclusive Record Store Day 12"
Label:	BUREAU B (GERMANY)
Format:	12"
Price:	$11.00
Catalog #:	BB 106EP

Bureau B celebrates 2012's Record Store Day, April 21, 2012 with a series of exclusive 12" vinyl releases. Ulrich Schnauss & Mark Peters' Underrated Silence (BB 094CD/LP) has been one of Bureau B's most successful releases, and "Balcony Sunset" is a track that was not released on the album. Kurt "Pyrolator" Dahlke is the co-founder of the Ata Tak record label and has been a member of bands such as D.A.F. and Fehlfarben. His tracks are outtakes from the sessions for his album Neuland (BB 084CD/LP).

Artist:	KREIDLER/TARWATER
Title:	Exclusive Record Store Day 12"
Label:	BUREAU B (GERMANY)
Format:	12"
Price:	$11.00
Catalog #:	BB 107EP

Bureau B celebrates 2012's Record Store Day, April 21, 2012 with a series of exclusive 12" vinyl releases. Kreidler's contribution consists of two previously-unreleased tracks, recorded during the sessions for Tank (BB 070CD/LP): "Team" takes us to the countryside and has a surprisingly positive aura; "Big Eden" drops us back into the Jetztzeit, even hinting at echoes of Manchester rave and '80s indie Brit-pop. Tarwater present three previously-unreleased tracks which the band recorded during their Inside The Ships (BB 085CD/LP) sessions.

Artist:	FAUST/LIKE A STUNTMAN
Title:	Exclusive Record Store Day 12"
Label:	BUREAU B (GERMANY)
Format:	12"
Price:	$11.00
Catalog #:	BB 108EP

Bureau B celebrates 2012's Record Store Day, April 21, 2012 with a series of exclusive 12" vinyl releases. Krautrock protagonist Faust's track is a previously-unreleased outtake from their most recent recording session. Like A Stuntman play eccentric, weird, harmonic, glitchy electro Kraut-pop and for this release, the Hamburg and Frankfurt-based quartet recorded two brand-new songs which prove their uniqueness once again.