The legendary Harald Grosskopf continues his long-standing relationship with Hamburg’s Bureau B with Glitches Brew, a vital new LP and the latest stage in his ongoing dialogue with electronic possibility. The titular nod to Miles Davis’ masterpiece Bitches Brew reflects Grosskopf’s sense of humour, while also hinting at the album’s underlying theme: the productive friction between man and machine. Glitches Brew balances analogue intuition and digital immediacy, kosmische heritage and contemporary electronic language. It is the work of an artist still following his own ideas, still excited by sound, still testing the edges. Sixty years on from his first beat-group rehearsals, Harald Grosskopf remains what he has always been: a musician for whom rhythm is liberation, technology is possibility, and the future is something to invent again and again.

In 2026, Bureau B reissues Nothing, the 2001 album by Ata Tak’s Frank Fenstermacher and Kurt Dahlke (Pyrolator) aka A Certain Frank, newly remastered and available on vinyl for the first time. Marking its 25th anniversary, the record stands as a quietly distinctive chapter in Düsseldorf’s post-Kraut electronic lineage – understated, atmospheric, and strikingly timeless. With this anniversary edition, Bureau B once again highlights a strand of German electronic music that exists between eras and categories. Carefully remastered and now pressed on vinyl for the first time, Nothing returns not as a relic, but as a work whose understated clarity continues to resonate – a testament to Bureau B’s ongoing dedication to preserving and recontextualising Germany’s experimental pop heritage.

With Un Rêve Sans Conséquence Spéciale, also released in 1976, Heldon extend their vocabulary into darker and more concentrated territory. The interplay of synthesizer and guitar is sharpened here, shaped into structures that feel both deliberate and unstable, balancing precision with a latent volatility. The album unfolds with a heightened sense of pressure, its pieces moving between propulsion and fragmentation without settling into fixed form. 
Marking its 50th anniversary, the album returns on May 22nd as a limited edition on orange vinyl, hand-numbered in 500 copies. A compelling document of Heldon at their most focused and intense.

Richard Pinhas’ Heldon remains a crucial outlier in the 1970s European underground, fusing the more radical edges of progressive rock with early synthesizer experimentation in ways that still feel ahead of their time.Released in 1976, Agneta Nilsson captures a moment of consolidation, as extended pieces evolve through cycles of tension, drift, and release. The album’s internal logic feels both rigorous and open-ended, balancing restraint with sudden surges of intensity. Reissued for its 50th anniversary on May 22nd, this edition arrives in red vinyl, hand-numbered and limited to 500 copies. Essential material, sharpened for collectors and new listeners alike.

On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes – of course maintaining their signature rhythmic groove, which on „Schemes“ is simply more buoyant and less insistent. Schemes is also characterised by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With „Schemes“, Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. 

With Grumpy Pieces, Düsseldorf-based musician Stefan Schwander, aka Harmonious Thelonious, returns with an album that gathers many of the elements that have defined the project over the years – while simultaneously pushing them apart. The record feels like a tightening of earlier ideas: interlocking melodies, hypnotic patterns, a sustained focus on rhythm and texture, paired with a sound that is rougher, drier and more immediate than before. Grumpy Pieces is not a break, but a sharpening. An album that further condenses and roughens the unmistakable sound of Harmonious Thelonious, offering an uneasy yet physical soundtrack to the current social climate. Dance music with teeth.

Limited Anniversary Edition: hand numbered, yellow transparent vinyl, 500 copies available! From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. The influence of Tangerine Dream can clearly be heard on “Romance 76”, although the arrangements are comparatively minimalist—a state of affairs for which David Bowie can be held partially responsible.

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.