The enigmatic and expressive Chikiss breaks a three-year silence with Between Time and Laziness, a brand-new LP of dramatic and dreamlike synthpop perfectly suited to Hamburg’s unfaltering Bureau B. Written in St. Petersburg, Berlin, and Athens, and co-produced by Finnish multi-instrumentalist Jaakko Eino Kalevi, the album renders the existential, psychological, and philosophical in song form. Exploring motivation and self-doubt, the long shadow of the Soviet Union, and collective empathy with a cinematic flair, Chikiss weighs darkness and light, landing on the side of hope in her most considered and polished vocal album to date.

It’s hardly a secret that there was a lot of movement in German pop music during the late 60s and early 70s of the last century, and that many new things emerged then. Countless books have already been published on the subject of 'Krautrock', and many LPs from this period have been re-released. Günter Schickert only released two LPs in the 70s: "Überfällig" (Sky Records, 1979 / Bureau B, 2012) and "Samtvogel" (Brain, 1976). Now, exactly 50 years after its original release, "Samtvogel" has returned.

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.

You don't really need to say much about this man: co-founder of Wallenstein, drummer on at least two of the most wonderful Krautrock albums (namely "Mother Universe" and "Cosmic Century"), member of the legendary "Kosmische Kuriere", records with Ash Ra Temple and Klaus Schulze. Finally, Harald Grosskopf switched from drums to sequencers and created something breathtaking. I listened to his solo debut Synthesist (1980) to death, and few days began without "So weit, so gut". It was a record that did everything right, that salvaged whatever could be salvaged from Kraut, adding the melancholy with which one suddenly looked back on everything that could still be naively believed and played in the 70s. Then in 1985 came the follow-up Oceanheart, no less great, albeit already noticeably more minimalist. Manuel Göttsching could be sensed in the distance if you surrendered to the track "Eve on the Hill" and followed it into the depths. Time passed, the music stayed with me. I lost sight of Harald Grosskopf, even though he did produce an album from time to time. And now: "Strom". The evocation of electricity, the virtuosity of the circuit that skillfully intertwines man and machine, an antidote to the triumphal march of desolate musical digitality.

Forty years since their inception, and almost two decades since their last release, art-synth auteurs Propaganda return with a brand new chapter in their enthralling story. This self-titled set from principal songwriting partnership Ralf Dörper and Michael Mertens embodies the depth and drama of their early work, while exploring fresh sounds and styles, and reflecting the personal and societal changes since their last outing. Conceived and crafted entirely in their native Düsseldorf, a deliberate decision to help them stay true to themselves, and featuring guest appearances from the acclaimed Hauschka and ascendant Thunder Bae, this is Propaganda at their most essential.

The inspiration for 'Album l' and 'Album Il' began with a performance by Japanese musician Eiko Ishibashi at Cologne's Week-End Fest in 2019. For this appearance the renowned experimental musician and composer of the Oscar-winning film „Drive My Car" was joined on drums by Tatsuhisa Yamamoto and Joe Talia; both integral members of the top-level improvisational/ experimental scene in Tokyo. While in town for the festival, Ishibashi met up with the members of the Cologne-Berlin based group Von Spar who featured Ishibashi on their then new album "Under Pressure".

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.

After dipping into the archive to deliver a series of essential reissues, Bureau B continues 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 Uwe Bastiansen, Elke Drapatz, Dirk Dresselhaus, Jochen Arbeit, Sonja Kosche, Andrew Unruh, and fellow founding member Gunther Wüsthoff. Over the years, Faust has become many things, each as separate as the fingers but as together as the hand that 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 embraces synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience, and psychedelic motorik.

Heiko Maile and Julian Demarre, both pop musicians and film composers, have been collaborating since the mid-90s album classic "MEANWHILE" by Camouflage. While Heiko continued pursuing the perfect pop song, they both landed their first feature film score gigs. In recent years while working together on several films, they felt they should create something for themselves - a love letter to 70s and 80s electronic music. With some esoteric 1970s keyboards from Japan designed for the sound of tomorrow they have now recorded an album for all the days after tomorrow. The result is the genre-bending album NEOSTALGIA, a unique blend of various electronic styles and 1970s Krautrock with pieces featuring intros/outros, flutes, flanger guitars and vocoders, and tracks pushing the six-minute mark.

With Sähkömies, Jimi Tenor released his legendary solo debut in 1994 on Puu, a spin-off of the Finnish label Sähkö Recordings founded by Tommi Grönlund and Mika Vainio in 1993. Recorded in Tenor's former home in New York, the album offers a previously unheard mixture of drum machine driven, electronic sounds and Sun Ra-inspired jazz. Written, recorded and produced entirely by Tenor in his apartment, the pieces have lost none of their spontaneous, roughcast charm to this day. The record combines lo-fi electronics with Jimi Tenor's typical smoky saxophone playing, offering a fascinating listening experience that documents an artist who is full of curiosity and the joy of experimentation. For the 30th anniversary of Sähkömies, Bureau B is thrilled to make this special album available again on LP and CD.