Camouflage are one of the few German bands to have been making music successfully at home and abroad for the last couple of decades. “The Great Commandment” (1987) and “Love Is A Shield” (1989) were actually worldwide hits. After four albums, Camouflage felt it was time to experiment. This phase reached its zenith with the album “Spice Crackers” in 1995 – the most daring, most interesting work they ever released. Electropop tracks sit side by side with hypnotic, repetetive, spheric tracks. Now, 30 years later, “Spice Crackers” will finally be released on vinyl for the first time! Out on January 9th, 2026!

 “...on the way to the complete Schnitzler.” This optimistic goal was recently formulated by an employee of Bureau-B. But just as it was Schnitzler's life's work to create a sonic universe of his own, it is practically impossible to document that sonic universe in its entirety. I have previously expressed this assumption elsewhere. The sheer volume of official releases (LPs, CDs, cassettes) is almost unfathomable. Added to this are the small editions released by Schnitzler himself, which are not included in the discographies. And then there are the holdings of various archives, which have only been partially evaluated so far. In other words: Schnitzler and still no end in sight. But the journey is its own reward, and this journey will be a delightfully long one. Onward!

“Convex” is one of a series of LPs that Schnitzler released himself in the 1980s. Some of the covers of these LPs contain useful information such as track titles, instruments, date of origin, et cetera. Sometimes the LPs also come with DIN A4 or other format sheets printed with text and artwork. “Convex,” however, is one of Schnitzler's LPs that convey virtually no visible information. Only the title is printed in large letters on the cover of “Convex,” and in tiny letters that are easy to overlook, it says: “Cover Conrad und Richard.” The labels on the original LP indicate that one side is called ‘Convex’ and the other “Concav.” That's all the information there is.

‘So Far’, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don’t be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. 

By 1973, Faust had already rewired the circuits of German rock. Their rst two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might nally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing.

This year, Finnish musician and composer Jimi Tenor celebrated his 60th birthday. He couldn't have imagined a better place to do so than on stage, and so Tenor came to Hamburg with his band in March, not only to celebrate his personal anniversary, but also to record new music. Partly with Hamburg producer Tobias Levin at his Electric Avenue Studio, and partly at Lauri Kallio's Kiikala Center of the Universe Studio Complex, ‘Selenites, Selenites!’ – the first album by the Jimi Tenor Band – was recorded in spring 2025.

Karl Bartos: Communication – A timeless statement on media, culture, and music
Karl Bartos, renowned as an essential member and songwriter of Kraftwerk during their most innovative years, is reissuing his solo album Communication on Hamburg’s Bureau B. First released in 2003, 13 years after leaving the legendary electronic group, the re-release arrives at a moment when its central theme, the transformation of culture through electronic media, feels more relevant than ever.

CV Vision returns with the follow-up to his last opus “Im Tal der Stutzer” and delivers his sixth studio album “Release The Beast” – where he finds the sweet spot between psych rock, Detroit techno, fried synths, black metal and library music. 

While working in Berlin Wedding at andereBaustelle studio on their upcoming album – scheduled for release in May 2026 on Bureau B – Kreidler found also time to dig deep into the vaults of their Düsseldorf and Berlin archives. Thirty Years ago Kreidler's eponymous mini-album was released on Cologne-based label Finlayson; and for RIVA, their first outing, on cassette tape it is even 31 years. Both released in limited physical formats and long unavailable. This edition documents the band‘s beginnings, with threads that can be followed throughout their whole history to their current work. Still, they are straight out of a certain scene, at a certain place, at a certain time.

Schnitzler's collaborations with Wolf Sequenza aka Wolfgang Seidel occupy a special place in his vast musical output. They brought him closer to pop music than ever before or since, with the possible exception of “Berlin Express” and “Auf dem schwarzen Kanal”. Following “Consequenz” (BB 121) and “Con 3” (BB 122), “Consequenz III” is now the third album to be released from this phase of his work.