KREIDLER - Forced Exposure

$16.50 IN STOCK

Kreidler's seventh long-playing record for Bureau B is an affair of electronic pop music nurtured in nowclubs and rooted in Rhenish kraut, British post-punk (with a touch of NYC and Brussels) and international polyrhythm. In the 30th year of the band's history, on Twists (A Visitor Arrives) "Düsseldorf's second most famous band" collaborated on four of the nine tracks with guests Khan Of Finland, Maxim Bosch, Natalie Beridze, and Timuçin Dündar. They left the cover design in the hands of Fette Sans.

$26.00 IN STOCK

LP version. Kreidler's seventh long-playing record for Bureau B is an affair of electronic pop music nurtured in nowclubs and rooted in Rhenish kraut, British post-punk (with a touch of NYC and Brussels) and international polyrhythm. In the 30th year of the band's history, on Twists (A Visitor Arrives) "Düsseldorf's second most famous band" collaborated on four of the nine tracks with guests Khan Of Finland, Maxim Bosch, Natalie Beridze, and Timuçin Dündar. They left the cover design in the hands of Fette Sans.

$16.50 IN STOCK

In a year of the moon, Kreidler have produced the album Spells And Daubs. In September 2020 the band met for exploratory sessions and initial recordings in Düsseldorf, in the familiar settings of the Kabawil Theater. The impetus this time was a solitary gig in the conspicuously spacious surroundings of the (former) Philipshalle. Over the winter Kreidler worked remotely, sifting through the material, arranging the pieces, adding textures and contours. They met again in the spring of 2021 for further recordings at the Uhrwerk Orange studio in Hilden, near Düsseldorf. From fifteen pieces they filtered out ten, and thus held an album in their hands. Then they took it to London, to Peter Walsh, so that he could mix the tracks.

"... Spells And Daubs is a melodious interplay. Not that Kreidler neglect the rhythmic; their characteristic drive runs through all the pieces on Spells And Daubs. Perhaps it's like this: The beat is musicalized, the melody rhythmitized. Spells And Daubs is like a collection of short stories. Its ten pieces explore the same space drawn together by an overlaying arc . . . Perhaps most beautiful in the irresistible pop gems 'Arena', 'Unframed Drawings', and 'Revery'. Aptly, Alex Paulick moved to the fretless bass -- conjuring the spirit of Mick Karn. The album opens with 'Tantrum'. It's a quick fit, nothing too violent, more a play at throwing things about . . . 'Toys I Never Sell' takes it down a notch, a poetic exploration of the room . . . 'Dirty Laundry' depicts an empty city with fading footsteps, though not aimless, a sort of a cold wave funk, a certain eeriness, a brief threat like an espionage story . . . In 'Revery' a synth sequence chases forward, with an enchanted melody on co-driver's seat . . . 'Unframed Drawings' breezes a somewhat bluer note, think of layered memories, slightly blurred, faded, ushering back and forth looking for a new formation, a new narration, a fresh start, combining longing with comfort. In 'Arise Above', 'Tantrum''s secret cousin, a soaring synthesizer starts the drum beat, the bass kicks in, and the rhythmic framework is ensnared by a netting of insidious melodies . . . 'Arena' is a melancholic urge, the song runs into a delay, its theme turns over, tumbles, falls into itself, finding itself in itself, and takes itself up again. 'Greetings From Dave' starts with the telephone call, a postcard from Paris, Then the snare surges ahead, and a recorder-like, and a bagpipe-like push the boat out, for a celebration in the final grooves of the album, big fuss, turn the record over! For all of their Krautrock attributions, Kreidler never tire of reminding us that their musical development stemmed from a love of British pop music. So you might say the co-op with Peter Walsh is a match made in heaven. His illustrious mixing and production skills have lifted works from Shalamar or Lynx to Heaven 17 to Scott Walker, Pulp or FKA Twigs into other spheres..." --V. Luxemburgo

$26.00 IN STOCK

LP version. In a year of the moon, Kreidler have produced the album Spells And Daubs. In September 2020 the band met for exploratory sessions and initial recordings in Düsseldorf, in the familiar settings of the Kabawil Theater. The impetus this time was a solitary gig in the conspicuously spacious surroundings of the (former) Philipshalle. Over the winter Kreidler worked remotely, sifting through the material, arranging the pieces, adding textures and contours. They met again in the spring of 2021 for further recordings at the Uhrwerk Orange studio in Hilden, near Düsseldorf. From fifteen pieces they filtered out ten, and thus held an album in their hands. Then they took it to London, to Peter Walsh, so that he could mix the tracks.

"... Spells And Daubs is a melodious interplay. Not that Kreidler neglect the rhythmic; their characteristic drive runs through all the pieces on Spells And Daubs. Perhaps it's like this: The beat is musicalized, the melody rhythmitized. Spells And Daubs is like a collection of short stories. Its ten pieces explore the same space drawn together by an overlaying arc . . . Perhaps most beautiful in the irresistible pop gems 'Arena', 'Unframed Drawings', and 'Revery'. Aptly, Alex Paulick moved to the fretless bass -- conjuring the spirit of Mick Karn. The album opens with 'Tantrum'. It's a quick fit, nothing too violent, more a play at throwing things about . . . 'Toys I Never Sell' takes it down a notch, a poetic exploration of the room . . . 'Dirty Laundry' depicts an empty city with fading footsteps, though not aimless, a sort of a cold wave funk, a certain eeriness, a brief threat like an espionage story . . . In 'Revery' a synth sequence chases forward, with an enchanted melody on co-driver's seat . . . 'Unframed Drawings' breezes a somewhat bluer note, think of layered memories, slightly blurred, faded, ushering back and forth looking for a new formation, a new narration, a fresh start, combining longing with comfort. In 'Arise Above', 'Tantrum''s secret cousin, a soaring synthesizer starts the drum beat, the bass kicks in, and the rhythmic framework is ensnared by a netting of insidious melodies . . . 'Arena' is a melancholic urge, the song runs into a delay, its theme turns over, tumbles, falls into itself, finding itself in itself, and takes itself up again. 'Greetings From Dave' starts with the telephone call, a postcard from Paris, Then the snare surges ahead, and a recorder-like, and a bagpipe-like push the boat out, for a celebration in the final grooves of the album, big fuss, turn the record over! For all of their Krautrock attributions, Kreidler never tire of reminding us that their musical development stemmed from a love of British pop music. So you might say the co-op with Peter Walsh is a match made in heaven. His illustrious mixing and production skills have lifted works from Shalamar or Lynx to Heaven 17 to Scott Walker, Pulp or FKA Twigs into other spheres..." --V. Luxemburgo

$17.00 IN STOCK

Thomas Klein, Alexander Paulick, Andreas Reihse, and Detlef Weinrich assembled in Düsseldorf in winter of 2018 for recordings, and then continued with further sessions in Berlin. Starting with around a dozen sketches, the band produced eight pieces, including "Flood I-IV" and "Flood V", an ensemble of five songs that -- in LP terms -- fills the entire second side of the album. But let's start from the beginning. Side One -- still speaking in LP terms -- begins pleasantly enough with the gentle roll and slight murmur of "Eurydike". Borrowed from Greek mythology, the title refers to the pretense of affection as a means of abandonment. The wistful saxophone, the bass notes, the slight trembling in the sound all speak of her awakening from disillusion. "Celeration", the second piece, seems to accelerate. But the pace of "Eurydike" is actually maintained. The tone becomes sharper, the rhythm creaky, the rolling more energetic, the sequence calls for a sacrifice. A shimmy, a scuttle, a quarter step: "Nesindano". The voice you hear is Khoes, alias Nesindano Namises; the language we hear is Khoekhoe/Damara. A gong, a CR-78 joins, a clicking, a flicker, words flutter, a bass booms, the voice rises up to the hook line, an FM synthesizer picks up the pieces and carries them along, percussion rattles. Agit-Pop! "Flood I-IV" is not about modesty or humility. It calls for always demanding the maximum --of oneself and for oneself -- which also means to give, and that each may set their own limits while respecting others, accepting them and helping where help is needed. Ricardo Domeneck takes on "Flood II" while looking out over the sea in Brazil, his feet in the sand for a few minutes, recalling a conversation with a geologist. "Flood I-IV" involves synthesizers, strings, rusty percussion, guitars enter into dialogue, a collaborative negotiation, a swelling and descending, a showering in transparent layers, banging on shore, heads are rolling, liquefying hierarchies not structures. "Flood IV" is a dance that flows into "Flood V", taking with it its instrumentation and mood, and moving it into a state between an easy-elegiac thoughtfulness and a concentrated contemplation. Kreidler, this four-headed hydra of a continental pop music that captures Bach, disco, postpunk, club, and krautrock in varying proportions with an elegant lightness. On Flood the band playfully expands its approach with two renowned voices.

$22.00 IN STOCK

LP version. Thomas Klein, Alexander Paulick, Andreas Reihse, and Detlef Weinrich assembled in Düsseldorf in winter of 2018 for recordings, and then continued with further sessions in Berlin. Starting with around a dozen sketches, the band produced eight pieces, including "Flood I-IV" and "Flood V", an ensemble of five songs that -- in LP terms -- fills the entire second side of the album. But let's start from the beginning. Side One -- still speaking in LP terms -- begins pleasantly enough with the gentle roll and slight murmur of "Eurydike". Borrowed from Greek mythology, the title refers to the pretense of affection as a means of abandonment. The wistful saxophone, the bass notes, the slight trembling in the sound all speak of her awakening from disillusion. "Celeration", the second piece, seems to accelerate. But the pace of "Eurydike" is actually maintained. The tone becomes sharper, the rhythm creaky, the rolling more energetic, the sequence calls for a sacrifice. A shimmy, a scuttle, a quarter step: "Nesindano". The voice you hear is Khoes, alias Nesindano Namises; the language we hear is Khoekhoe/Damara. A gong, a CR-78 joins, a clicking, a flicker, words flutter, a bass booms, the voice rises up to the hook line, an FM synthesizer picks up the pieces and carries them along, percussion rattles. Agit-Pop! "Flood I-IV" is not about modesty or humility. It calls for always demanding the maximum --of oneself and for oneself -- which also means to give, and that each may set their own limits while respecting others, accepting them and helping where help is needed. Ricardo Domeneck takes on "Flood II" while looking out over the sea in Brazil, his feet in the sand for a few minutes, recalling a conversation with a geologist. "Flood I-IV" involves synthesizers, strings, rusty percussion, guitars enter into dialogue, a collaborative negotiation, a swelling and descending, a showering in transparent layers, banging on shore, heads are rolling, liquefying hierarchies not structures. "Flood IV" is a dance that flows into "Flood V", taking with it its instrumentation and mood, and moving it into a state between an easy-elegiac thoughtfulness and a concentrated contemplation. Kreidler, this four-headed hydra of a continental pop music that captures Bach, disco, postpunk, club, and krautrock in varying proportions with an elegant lightness. On Flood the band playfully expands its approach with two renowned voices.

$25.00 IN STOCK

Kreidler celebrate the tenth anniversary of their groundbreaking 2009 album, Mosaik 2014, with a remastered edition. Mosaik 2014 -- that's how it is meant to sound. Arrangements that feel right, without it being possible to map everything 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. Features an updated track list; printed inner sleeve; 140 gram, white vinyl.

$17.00 IN STOCK

It was originally intended to be an entirely different album; Kreidler had already completed a new LP prior to recording European Song. Initial sessions in Mexico City in early 2016 evolved into a record that was in many ways, lighter, more minimalist, and certainly more playful than the band's work of recent years. Then came the brutal shock of the US election. It seemed to solidify everything that was going wrong with the world. The times of uncertainty, violence, and xenophobisms had attained a new quality. A cartoon villain, the evil corporate manipulator disguised as a refreshing amateur, a "man of the people", lured the masses with unconditional hate speech and now enters the world-political arena. In their 23 years of existence, Kreidler have often made music that might be described as "dystopian". And faced with the likelihood of these nightmare scenarios becoming excruciatingly real, suddenly, Kreidler's previously intended new album felt wrong for this universe. Kreidler quickly reconvened in order to record a brand new set of tracks. Circumstances provided no lack of inspiration. Fortunately, the group had just completed a short run of concerts and were in top playing form. The songs were captured live in the studio as spontaneous improvisational takes. There wasn't much in the way of overdubs or additional production, just some editing for conciseness. The mixes add cohesion and impact without smoothing off the rough edges of the session. The stringent drumming of Thomas Klein meshes with Detlef Weinrich's edgy electronic sequences, the brutalist opulence of Andreas Reihse's synthetic soundscapes are complemented by Alexander Paulick's restrained flourishes and rhythmic guitar and bass work. As usual, there are no actual "vocals" on European Song. Yet abstract, voice-like sounds often occur, suggesting a terrified crowd or a choir of hooligans. Repetition and modulation are the yin and yang in the band's hybrid of un-kraut, no-tech, dark pop, bunker. The hallmark interplay between man and machine results from a combination of collective experience and blind trust in the moment. It's a group thing, on purpose. Listening to European Song, the validity of Kreidler's approach is apparent from the first bars. There is an immediacy, an alertness, a readiness for action. The album title refers to the history of a continent that has previously surpassed all others in self-destruction. Cover art by Rosemarie Trockel.

$26.00 IN STOCK

LP version. Includes CD. It was originally intended to be an entirely different album; Kreidler had already completed a new LP prior to recording European Song. Initial sessions in Mexico City in early 2016 evolved into a record that was in many ways, lighter, more minimalist, and certainly more playful than the band's work of recent years. Then came the brutal shock of the US election. It seemed to solidify everything that was going wrong with the world. The times of uncertainty, violence, and xenophobisms had attained a new quality. A cartoon villain, the evil corporate manipulator disguised as a refreshing amateur, a "man of the people", lured the masses with unconditional hate speech and now enters the world-political arena. In their 23 years of existence, Kreidler have often made music that might be described as "dystopian". And faced with the likelihood of these nightmare scenarios becoming excruciatingly real, suddenly, Kreidler's previously intended new album felt wrong for this universe. Kreidler quickly reconvened in order to record a brand new set of tracks. Circumstances provided no lack of inspiration. Fortunately, the group had just completed a short run of concerts and were in top playing form. The songs were captured live in the studio as spontaneous improvisational takes. There wasn't much in the way of overdubs or additional production, just some editing for conciseness. The mixes add cohesion and impact without smoothing off the rough edges of the session. The stringent drumming of Thomas Klein meshes with Detlef Weinrich's edgy electronic sequences, the brutalist opulence of Andreas Reihse's synthetic soundscapes are complemented by Alexander Paulick's restrained flourishes and rhythmic guitar and bass work. As usual, there are no actual "vocals" on European Song. Yet abstract, voice-like sounds often occur, suggesting a terrified crowd or a choir of hooligans. Repetition and modulation are the yin and yang in the band's hybrid of un-kraut, no-tech, dark pop, bunker. The hallmark interplay between man and machine results from a combination of collective experience and blind trust in the moment. It's a group thing, on purpose. Listening to European Song, the validity of Kreidler's approach is apparent from the first bars. There is an immediacy, an alertness, a readiness for action. The album title refers to the history of a continent that has previously surpassed all others in self-destruction. Cover art by Rosemarie Trockel.

$26.00 IN STOCK

Limited golden LP version. Includes CD. It was originally intended to be an entirely different album; Kreidler had already completed a new LP prior to recording European Song. Initial sessions in Mexico City in early 2016 evolved into a record that was in many ways, lighter, more minimalist, and certainly more playful than the band's work of recent years. Then came the brutal shock of the US election. It seemed to solidify everything that was going wrong with the world. The times of uncertainty, violence, and xenophobisms had attained a new quality. A cartoon villain, the evil corporate manipulator disguised as a refreshing amateur, a "man of the people", lured the masses with unconditional hate speech and now enters the world-political arena. In their 23 years of existence, Kreidler have often made music that might be described as "dystopian". And faced with the likelihood of these nightmare scenarios becoming excruciatingly real, suddenly, Kreidler's previously intended new album felt wrong for this universe. Kreidler quickly reconvened in order to record a brand new set of tracks. Circumstances provided no lack of inspiration. Fortunately, the group had just completed a short run of concerts and were in top playing form. The songs were captured live in the studio as spontaneous improvisational takes. There wasn't much in the way of overdubs or additional production, just some editing for conciseness. The mixes add cohesion and impact without smoothing off the rough edges of the session. The stringent drumming of Thomas Klein meshes with Detlef Weinrich's edgy electronic sequences, the brutalist opulence of Andreas Reihse's synthetic soundscapes are complemented by Alexander Paulick's restrained flourishes and rhythmic guitar and bass work. As usual, there are no actual "vocals" on European Song. Yet abstract, voice-like sounds often occur, suggesting a terrified crowd or a choir of hooligans. Repetition and modulation are the yin and yang in the band's hybrid of un-kraut, no-tech, dark pop, bunker. The hallmark interplay between man and machine results from a combination of collective experience and blind trust in the moment. It's a group thing, on purpose. Listening to European Song, the validity of Kreidler's approach is apparent from the first bars. There is an immediacy, an alertness, a readiness for action. The album title refers to the history of a continent that has previously surpassed all others in self-destruction. Cover art by Rosemarie Trockel.

$17.00 IN STOCK

2014 marks twenty years of Kreidler. The band has outgrown adolescence, but remains juvenile, reckless, impetuous. They recorded their new album ABC in Tbilisi, Georgia. And there will also be a film by Heinz Emigholz, who accompanied the last album Den with film clips. Six tracks characterized by elliptical shifts, where suddenly the bass and drums take over the helm -- or a choir appears. Kreidler worked together with Georgian singers: either hovering freely in the meditative pop piece "Ceramic," or defining a new space within a space, as in "Nino." Nino perhaps most clearly suggests that the album was recorded in Tbilisi, Europe's southeasternmost metropolis, on the former Silk Road at the intersection of East and West. "Nino" opens the album -- a piece made for setting off in a convertible with the top down, moving at the steady pace through the speed-limited traffic zones with the speakers pumping. A female voice takes over for "Alphabet" and the mood rises. It rocks as only Kreidler can rock. Then a short pause with "Destino," which displays a melancholy longing that leads to abstract no wave funk. "Modul" is similar to Nino, yet even more relentless. "Tornado" concludes ABC. A scruffy smoothness unifies the tracks, which rely less on layers or the shifting of variable patterns, and more on riffs. Yes, riffs. But not hashed-out on guitar or bass -- Alex Paulick is more the sequencer, the lead sound, or the cloud. It is the synthesizers of Andreas Reihse and Detlef Weinrich that provide the definitive propulsion. And wasn't it the case with Den that Kreidler even considered making a record without drums? What a peculiar endeavor. Once again, Thomas Klein's distinctive playing was destined to press the songs further forward, onward, ahead. As always with Kreidler, ABC is about the exploration of freedoms within a previously determined framework. It is a formulation of convergences, of possibilities within a procedural movement, based on a notion of democracy, with socialism in mind, where one understands that restraint is not merely a strategy of a conceptually inclined band, but that it serves to strengthen the validity, precision and majestic authority of expression. The cover uses photographic works by Thea Djordjadze. The Georgian artist usually works directly within a space, combining sculpture, painting and found objects into ensembles. Many of her photographic works are comparable, arranging diverse elements in a black (or white) box. Her works reflect art and cultural history, refer to Georgian folk art, or even Soviet modernity.

$25.50 IN STOCK

LP version. Includes a CD copy of the album. 2014 marks twenty years of Kreidler. The band has outgrown adolescence, but remains juvenile, reckless, impetuous. They recorded their new album ABC in Tbilisi, Georgia. And there will also be a film by Heinz Emigholz, who accompanied the last album Den with film clips. Six tracks characterized by elliptical shifts, where suddenly the bass and drums take over the helm -- or a choir appears. Kreidler worked together with Georgian singers: either hovering freely in the meditative pop piece "Ceramic," or defining a new space within a space, as in "Nino." Nino perhaps most clearly suggests that the album was recorded in Tbilisi, Europe's southeasternmost metropolis, on the former Silk Road at the intersection of East and West. "Nino" opens the album -- a piece made for setting off in a convertible with the top down, moving at the steady pace through the speed-limited traffic zones with the speakers pumping. A female voice takes over for "Alphabet" and the mood rises. It rocks as only Kreidler can rock. Then a short pause with "Destino," which displays a melancholy longing that leads to abstract no wave funk. "Modul" is similar to Nino, yet even more relentless. "Tornado" concludes ABC. A scruffy smoothness unifies the tracks, which rely less on layers or the shifting of variable patterns, and more on riffs. Yes, riffs. But not hashed-out on guitar or bass -- Alex Paulick is more the sequencer, the lead sound, or the cloud. It is the synthesizers of Andreas Reihse and Detlef Weinrich that provide the definitive propulsion. And wasn't it the case with Den that Kreidler even considered making a record without drums? What a peculiar endeavor. Once again, Thomas Klein's distinctive playing was destined to press the songs further forward, onward, ahead. As always with Kreidler, ABC is about the exploration of freedoms within a previously determined framework. It is a formulation of convergences, of possibilities within a procedural movement, based on a notion of democracy, with socialism in mind, where one understands that restraint is not merely a strategy of a conceptually inclined band, but that it serves to strengthen the validity, precision and majestic authority of expression. The cover uses photographic works by Thea Djordjadze. The Georgian artist usually works directly within a space, combining sculpture, painting and found objects into ensembles. Many of her photographic works are comparable, arranging diverse elements in a black (or white) box. Her works reflect art and cultural history, refer to Georgian folk art, or even Soviet modernity.

$17.00 IN STOCK

It could be said that Tank (BB 070CD/LP), Kreidler's critically-acclaimed previous album -- is a drum album. Not in the sense of the brute force of a Ginger Baker or a John Bonham, but more in terms of the elastic muscularity of a Budgie, a Robert Görl or a Klaus Dinger. So in the case of Den, if attempting yet another such broad categorization, one might draw attention to the album's viscous musicality. Indeed, for recording and mixing, Kreidler chose to work at LowSwing, a studio renowned for its round sonic character, with the magnificent Guy Sternberg at the controls. The album's opening track displays an inspired beauty that is perhaps reminiscent of Eno during those periods in which he was interested in songwriting. Pan-Asian counter-melodies interplay around the stoic but light architecture of "Deadwringer." And "Rote Wüste" is a mysterious painting, spanning a vast emotional arc between its dark beginnings and the possibility of a conciliatory resolution. The heavily grooving "Cascade" finds an utterly mesmerized Alex Paulick on guitar -- just how many chord changes does Andreas Reihse get through? But one nice aspect of Kreidler is that those kinds of things hardly matter. "Moth Race" is another uninhibited dance number built on Detlef Weinrich's harsh yet supple beat, suggesting New York City as envisioned by Arthur Russell. "Celtic Ghosts" dissolves this impression through ornamentation and leads us out onto the glassy ice. "Winter" is a gliding machine of magnetic, polished chrome. A rhythmic firework commences, devoid of all morality. Thomas Klein's playing is an essential component of the Kreidler sound. And if any reference is missing here, then it might be to Jaki Liebezeit of Can, who cultivates a similarly angular groove. All in all, in addition to the musical subtlety and elegant dialogical interaction which is celebrated on this album, it can be stated with enthusiasm that the band has not taken a single step back from its rhythmic force. Cover art by Enrico David.

$26.00 IN STOCK

180 gram LP version with CD. It could be said that Tank (BB 070CD/LP), Kreidler's critically-acclaimed previous album -- is a drum album. Not in the sense of the brute force of a Ginger Baker or a John Bonham, but more in terms of the elastic muscularity of a Budgie, a Robert Görl or a Klaus Dinger. So in the case of Den, if attempting yet another such broad categorization, one might draw attention to the album's viscous musicality. Indeed, for recording and mixing, Kreidler chose to work at LowSwing, a studio renowned for its round sonic character, with the magnificent Guy Sternberg at the controls. The album's opening track displays an inspired beauty that is perhaps reminiscent of Eno during those periods in which he was interested in songwriting. Pan-Asian counter-melodies interplay around the stoic but light architecture of "Deadwringer." And "Rote Wüste" is a mysterious painting, spanning a vast emotional arc between its dark beginnings and the possibility of a conciliatory resolution. The heavily grooving "Cascade" finds an utterly mesmerized Alex Paulick on guitar -- just how many chord changes does Andreas Reihse get through? But one nice aspect of Kreidler is that those kinds of things hardly matter. "Moth Race" is another uninhibited dance number built on Detlef Weinrich's harsh yet supple beat, suggesting New York City as envisioned by Arthur Russell. "Celtic Ghosts" dissolves this impression through ornamentation and leads us out onto the glassy ice. "Winter" is a gliding machine of magnetic, polished chrome. A rhythmic firework commences, devoid of all morality. Thomas Klein's playing is an essential component of the Kreidler sound. And if any reference is missing here, then it might be to Jaki Liebezeit of Can, who cultivates a similarly angular groove. All in all, in addition to the musical subtlety and elegant dialogical interaction which is celebrated on this album, it can be stated with enthusiasm that the band has not taken a single step back from its rhythmic force. Cover art by Enrico David.

$17.00 IN STOCK

Bureau B presents a new album by Germany's legendary Kreidler. "A simple plan: five days recording, three days mixing. One would hope that after over fifteen years of playing together, we might have acquired a certain degree of dexterity. Even for the last album Mosaik 2014 (Italic, 2009) we shut ourselves into Kreidler's own Shed In The Park studio in Cologne for five days without any warm-up and began recording. The band was geographically divided equally between Berlin (Alex Paulick, Andreas Reihse) and Düsseldorf (Thomas Klein, Detlef Weinrich). The actual recordings took place in September 2010 at Tobias Levin's Electric Avenue Studio in Hamburg. The idea behind the simple plan, of course, is rock'n'roll -- the energy of a live show captured on record. But it must sound good. Especially the drums. And Tobias Levin was the man for the job, a master of miking and a multiplier of the moment. We knew what we wanted: first take, no shake, followed directly by mixing in Kreuzberg with Hannes Bieger, namely analog, on tape. A bit of editing work was needed nevertheless, and in the end the post-production lasted eight days. So what do the pieces mean? Well, the titles may offer a few hints. A dystopia? In some places, perhaps. A positive utopia? In other places, for certain. A description of the present time? Kreidler think in terms of records and in the arithmetic of the great disco albums: NEU! 75, Saint Tropez or Patrick Cowley, examples from the ranks of legendary six-song albums, or the unpolished wildness in Tobias Levin's studio met with the controlled artificiality of Hannes Bieger, all mastered to the appropriate dimensions by Bo Kondren and the unsettling sublimity of Andro Wekua's cover painting. Indeed, Tank does relate to the narrative of Mosaik 2014, but Tank also deals with the break from that narrative. And in some respects, the album recalls our very first effort, Riva from 1994, which may lie in the pace of its development, or the fact that we have tried to keep the structure of the pieces simple and direct, that we used the computer more as a canister, a container or a vessel and less as an operating room. And of course, the fact that Kreidler has once again become a four-piece band, a band with a clear understanding of roles: a drummer, a bassist who can also reach for the guitar, a keyboard player and a man for the electronics." --Kreidler

$26.00 LOW STOCK LEVEL

180 gram LP version with free download code. Bureau B presents a new album by Germany's legendary Kreidler. "A simple plan: five days recording, three days mixing. One would hope that after over fifteen years of playing together, we might have acquired a certain degree of dexterity. Even for the last album Mosaik 2014 (Italic, 2009) we shut ourselves into Kreidler's own Shed In The Park studio in Cologne for five days without any warm-up and began recording. The band was geographically divided equally between Berlin (Alex Paulick, Andreas Reihse) and Düsseldorf (Thomas Klein, Detlef Weinrich). The actual recordings took place in September 2010 at Tobias Levin's Electric Avenue Studio in Hamburg. The idea behind the simple plan, of course, is rock'n'roll -- the energy of a live show captured on record. But it must sound good. Especially the drums. And Tobias Levin was the man for the job, a master of miking and a multiplier of the moment. We knew what we wanted: first take, no shake, followed directly by mixing in Kreuzberg with Hannes Bieger, namely analog, on tape. A bit of editing work was needed nevertheless, and in the end the post-production lasted eight days. So what do the pieces mean? Well, the titles may offer a few hints. A dystopia? In some places, perhaps. A positive utopia? In other places, for certain. A description of the present time? Kreidler think in terms of records and in the arithmetic of the great disco albums: NEU! 75, Saint Tropez or Patrick Cowley, examples from the ranks of legendary six-song albums, or the unpolished wildness in Tobias Levin's studio met with the controlled artificiality of Hannes Bieger, all mastered to the appropriate dimensions by Bo Kondren and the unsettling sublimity of Andro Wekua's cover painting. Indeed, Tank does relate to the narrative of Mosaik 2014, but Tank also deals with the break from that narrative. And in some respects, the album recalls our very first effort, Riva from 1994, which may lie in the pace of its development, or the fact that we have tried to keep the structure of the pieces simple and direct, that we used the computer more as a canister, a container or a vessel and less as an operating room. And of course, the fact that Kreidler has once again become a four-piece band, a band with a clear understanding of roles: a drummer, a bassist who can also reach for the guitar, a keyboard player and a man for the electronics." --Kreidler

$11.00 LOW STOCK LEVEL

"With the release of 'Impressions D'Afrique' -- the first remix 12 inch from their mind-expanding new album Mosaik 2014 -- they will once again raise the awareness of their audience for airy soundscapes far beyond the space-time continuum. Side A features the fantastic new extended long 12" edit of 'Impressions d'Afrique.' Here you can dance to percussive sci-fi music played live to get some outer-space satisfaction. The flip-side features a UNIT 4 (Body Dub, Clone Records) rework. UNIT 4's 'Oro Borum Bonga Baum Chant Remix' is made for a disco party where not only mirror balls turn crazy. For those who like space, kraut, disco and body dub, it's a must."

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"2004 marks ten years of Kreidler. 10 years in the life of one band. Kreidler's biography is incontestably connected to art. One can consider their opus, Eve Future as an art project in its own right, its theme continued in Eve Future Recall. Eve Future sees Kreidler treading the path of chamber music, adopting the language of several periods, leaning towards Baroque, minimalist expression, creating a concerto of electronic music, the identity of which is filled with references beyond temporal classification. In retrospect, the 2002 'mini album' Eve Future now appears to have been a majestic overture to the actual performance. Eve Future Recall is a departure from the formal discipline which was under the surface of its predecessor. If the original work was something of a description of external circumstance, an introduction to the spectacle, a dance governed by rules, then Recall concerns itself with the inner sphere, the state of the soul and the emotional complexity of the figures contained within the theme. Kreidler have set free the musical vocabulary of Eve Future, more vivacious and open in the way that the spoken word sets itself apart from the written. Eve Future Recall zooms in. A face becomes visible. A story is told, a breath is carried on a whisper. A game of looks and love, of daring and possibilities. Experiencing freedom within self imposed boundaries and the confounding of these very restrictions. Allow us to return to the theme. The title Eve Future is taken from the novel of the same name by the French author Auguste Villiers-de L'Isle Adams, published in 1885, 1886. The story tells of the inventor Edison and the 'electro-human creature' he creates as the apparently perfect lover for the British Lord Ewald. However, he proves unable to love her because she is resistant to his refined aesthetic intellect. Hadaly shall be her name. The Eve of tomorrow. Powered by the sun, golden phonographs where her lungs would be, lined with recordings of highly intelligent speech. A mere android, metaphysically brought to life by the sacrifice of a woman. Followed shortly hereafter by a second female sacrifice as she is destroyed in a shipwreck. Kreidler orchestrate this life-given artifice. They play with the doubling, beauty and kitsch of mathematics, rows of numbers and digital form. They portray objectivity, poetry and eroticism. Bach's sense of film behind them and its counterpoint in the disco. The hymn and the song. A love of Cologne's cathedral and Schneider-Esleben's car repair shop in Düsseldorf. Rendering the politically motivated distinction between popular and classical music obsolete. Amplifying thought and sensation. Transgression, enchantment and, time and again, Europe: the modern and modernism."

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LP version.

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"It comes as no surprise that on their third LP, Kreidler are more imaginative and multi-faceted than ever before in their celebration of music. Celebration? Hardly any other band organizes sounds and noises with such skill that their music can sound fragmented yet complete at the same time. The songs always -- even if only briefly -- explore that enchanting moment when a sequence of notes and sounds suddenly begins to make sense: the initiation of beauty. At the same time, they have enough respect not to stop halfway; over the course of the album, scattered sounds and short intervals form a swaying, circulating track, with those melodic lines and swinging rhythms that are typically Kreidler. The record repeatedly reminds us of instances when music is perceived not merely as an everyday thing on the radio or the TV, but consciously recognized as an enrichment of a moment. In this way, in their collaboration with Momus -- the last hip-intellectual of pop music -- they have explored how a piece of music or a song can be created from a series of observations in a diary. In 'Mnemorex', Momus and Kreidler describe a sort of departure, made possible by their connection to the past, their own history and their knowledge of the loss of innocence. Here, and in the following songs, they are re-creating themselves, sounding more focused yet at the same time lighter; this is Kreidler's return as renaissance men. Kreidler's most complete and liberated album to date has achieved all this with gallant coolness, a charming sense of humor and that un-dogmatic intelligence which has always led to the most exciting music. The honor of accompanying them on this journey was well worth waiting for."

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LP version.

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"Relax on the backseat for a sec. Let the engine run circles for you, and for a moment everything feels alright. And you know this keeps on keeping on. A dance step imported from another time into the present. When you feel responsibility, its only for the quarks. Like the knight as a portrait of independence. Laid back, leaving all the insecurities far behind. Once more you can have beauty as an argument, a modern soul movement. And it all happens in a concrete place with the two resident DJs arguing who spins first. It's the moment where everything is possible, without losing strength and linearity. Finally, Lancelot the knight tells stories of love and freedom. The break marks the in between time. From the R&B influenced 'Circles' to the soulstrumental beauties, from the deep bass re-edit to the fine groove of 'Lanzelot'. Once more, Kreidler shows its international pop sensibility. A statement of modernity in the beautiful musical tradition of Duesseldorf."

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5-track remix EP, Kreidler's most outlandishly accessible moment, in a synth-electro style that is totally captivating. "'Coldness' is the first track since 1994 on which Kreidler have worked with vocal parts. For the second single of the album they reworked the track completely and arranged it new. An urban declaration of love between neon-lights, cocktail-glasses and new wave romanticism which rather watches the unknown beauty from the distinct than obtrusively approaches her. Frankfurt's Shantel who already supported Kreidler as DJ on their recent tour, pushes 'Coldness' into a completely different direction. The opening remix of this release is contributed by Daniel Miller from Mute Records and Frank Tovey, collectively known better as Fad Gadget or from Daniel's productions with Depeche Mode. Miller and Tovey's 'Sunroof Mix' filters Kreidler's reminiscences and forms there from a perfect piece of 80s synth pop. Retrospective-future music and that's no contradiction."