Reissues

Before Camouflage: teenage demo tapes, 1984-86, from synth-pop craftsman Heiko Maile. Bedroom sequencers and bright melodic hooks capture a gifted talent forming, a charming, revealing document of German synth-pop in the making.

A cornerstone of German cosmic music. Ashra and Klaus Schulze drummer Harald Grosskopf steps out solo, wedding propulsive live drums to shimmering sequencer bliss. 'Synthesist' is euphoric Berlin-school pop: melodic, driving, timeless.

'Open doors'. Roedelius invites the listener into gentle, exploratory keyboard pieces, half-composed and half-dreamed. Warm, unhurried and melodically generous, the Cluster co-founder in intimate, searching mood.

'Happy moments', and it sounds it. Roedelius spins fragile, looping keyboard miniatures of great warmth and melodic grace, the gentler, sunlit side of the Cluster and Harmonia mastermind. Quietly radiant kosmische ambience.

The master of the echo-guitar, alone in the wilderness. Schickert layers cascading, delay-drenched guitar into trance-inducing krautrock ritual: hypnotic, psychedelic and deeply cosmic. Solitary genius from the Berlin underground.

French minimal-wave shadows from the cassette years, 1980-83. Fondation's cold drum machines, brittle synths and noir atmosphere distil an entire underground era: austere, romantic and hypnotic. A coldwave excavation.

The lost album. Recorded in 1974 and shelved for decades, 'Punkt' captures Faust between anarchy and melody: brooding, expansive and strange. A missing chapter of krautrock history, finally heard.

The fourth trove of Faust rarities. Studio sketches, false starts and sudden brilliance from rock's great disruptors, proof that even the offcuts of this collective crackle with fearless, unrepeatable invention.

Volume three of Faust's archival 'snapshots'. More unheard fragments from the krautrock legends' vaults: collage, groove and glorious chaos, the sound of a band that treated the studio as both demolition site and playground.

Snapshots from the Faust vaults, unheard studio moments from krautrock's most anarchic band. Tape collage, motorik grooves and pure sonic sabotage sit side by side, a document of the collective's fearless early-'70s experimentation.

Der Plan sharpen their cracked pop craft. 'Normalette Surprise' fizzes with cheap synths, tape trickery and gleeful absurdity, the Düsseldorf collective turning DIY electronics into surreal, catchy miniatures. Essential NDW.

Der Plan's riotous debut, a founding shot of Neue Deutsche Welle. 'Geri Reig' is anarchic, homemade electronic pop: dime-store keyboards, Dada humour and pure Ata Tak irreverence. NDW at its most inventive and unhinged.

The Ata Tak pranksters score a film. Der Plan's soundtrack to 'Die letzte Rache' is gleeful, cracked electronic pop: toy synths, absurd humour and genuine invention. The mischievous engine room of German new wave.

Solo home electronics from Liquid Liquid's percussionist. Between 1984 and 1988 Dennis Young taped melodic, marimba-tinged synth miniatures, bright, rhythmic and disarmingly personal. A private cache of downtown-NY DIY.

Schnitzler decelerates: long, hovering electronic tones and slow-turning sequences that reward patience. 'Slow Motion' is among the more meditative corners of his vast output, cold, spacious and quietly mesmerising.

The second volume of Schnitzler's cinema for the mind's eye. Sequencer motifs and alien textures sketch scene after scene of electronic drama: the restless imagination of a true pioneer, drawn from his boundless tape archive.

Imaginary soundtracks from the Kluster co-founder. 'Filmmusik 1' collects vivid electronic scenes, sinister, playful and cosmic by turns, music for films that never existed, from one of Germany's boldest sonic minds.

More from the inexhaustible archive of Berlin's electronic anarchist. Schnitzler stacks pulsing sequences and caustic tone-colours into restless, self-contained machines of sound: uncompromising, hypnotic and utterly his own.

Previously unreleased tapes from the Kluster co-founder and restless electronic pioneer. Cold, pulsing sequencer patterns and alien tone-colours map an imaginary planet: raw, hypnotic and unmistakably Schnitzler, from his vast archive.

A summit of German sonic royalty: producer Conny Plank, Guru Guru drummer Mani Neumeier and Cluster's Moebius. 'Zero Set' is muscular, percussive electronic funk, dubwise, propulsive and years ahead. A krautrock supergroup in the studio.

One take, one hour, no overdubs. Moebius and Roedelius let a single improvisation unfurl in real time, gently evolving electronic tides, meditative and unforced. Late-period Cluster at its most patient and hypnotic.

Caught onstage in 1980, Cluster improvise an evening into long, mutating electronic landscapes. The duo's live telepathy in full flow, sequencers churning, textures blooming and dissolving. A vivid document of kosmische in real time.

Cluster's early-'80s farewell to their first era: shorter, gnarlier electronic vignettes, wry and rhythmic. 'Curiosum' finds Moebius and Roedelius at their most impish, sketching miniature worlds with battered analogue gear.

The abrasive, epochal debut. Moebius and Roedelius push organ, guitar and homemade electronics through banks of effects into three untitled slabs of proto-ambient drift. Year zero for German electronic music, still startling fifty years on.

Moebius and Roedelius reconvene decades on, and the old telepathy holds. 'Apropos Cluster' drifts through supple electronic sketches, playful, warm and abstract at once, proof the duo's improvised chemistry never dimmed.

A lost transmission from Britain's early cassette network. Carl Matthews builds patient, meditative electronic drones and tape textures: homemade ambient minimalism of quiet conviction, rescued from the margins of the DIY underground.

The second Eno, Moebius and Roedelius summit. Brian Eno joins the Cluster duo for luminous ambient sketches and vocal pieces of eerie beauty, a keystone where British art-pop meets German kosmische, from the classic Sky Records era.

'Nocturnes' from Germany's great electronic miniaturist. Tietchens assembles short, enigmatic synthetic pieces, cool, disciplined and quietly unsettling, poised between pop structure and pure abstraction. Essential early Tietchens.

Tietchens at his most seductive. 'The fifth heaven' pairs the Hamburg sound-chemist's rigorous electronics with an unexpected melodic sweetness. Shifting synthetic textures, precise and strange: abstract music that still charms.

Home-taped minimal synthesis from the German cassette underground, 1980-86. Alu's austere drum machines, cheap keyboards and deadpan Deutsch build a private, hypnotic little world. A lost minimal-wave gem exhumed by Bureau B.

Von Deyen's debut, an interstellar synthesizer suite of vast pads and slow sequencer pulse. Sternzeit (star time) is pure late-'70s German cosmic music, equal parts Tangerine Dream grandeur and lonely, meditative space.

More deep-space synthesis from the reclusive cosmic voyager. Nordborg unfolds in patient, glacial layers of Moog and Mellotron: Berlin-school drift at its most oceanic and serene. A cult private-press artefact returned to CD.

Vast, weightless synthesizer vistas from the German cosmic underground. Von Deyen layers Moog and Mellotron into slow-drifting cloudscapes, poised between Berlin-school sequencing and pure ambience. A private-press reverie, on CD for the first time.

Ten tones for ten bodies in orbit. Nothing else. The Solar System is one of Ryoji Ikeda's most reduced objects, a 12" containing ten locked grooves, each cut with a single sine wave at a frequency assigned to a different planet. Where Code Name: A-Z took language as its source, this record takes celestial mechanics, and pares it down to the purest signal available. It was produced by The Vinyl Factory in 2015 for the UK premiere of supersymmetry, Ikeda's large-scale installation shown at the Bre…

**Clear vinyl, 26 locked grooves, edition of 500 - 2026 repress** An alphabet reduced to its bones. Twenty-six words, twenty-six frequencies, twenty-six grooves that never end. Code Name: A-Z is Ryoji Ikeda at his most austere and his most physical, a record that treats the vinyl disc not as a carrier of music but as an instrument in its own right. Ikeda's position in the landscape of experimental sound needs little rehearsal. A founding presence in the Kyoto collective Dumb Type and one of the …

After Curiosum (BB 038CD/LP, 1981), the last Cluster album to be released on Sky, Roedelius and Moebius turned their attention to solo work. It was not until the early 1990s that Cluster returned to the electronic music stage with Apropos Cluster (BB 171CD/LP, 1990) and One Hour (BB 172CD/LP, 1994). The duo also took to the road for live shows in Germany and Europe, followed by tours across the USA and Japan. Some of these concerts were recorded in digital quality and offer compelling evidence o…

Dark Entries release Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San F…

On Live at the KiMo Theater Albuquerque 1979, Cecil Taylor leads a newly reconfigured Unit through a rare Western American performance of volatile grace and immense detail. Piano, alto saxophone, violin, bass, cello and multi-instrumental percussion form a shifting, luminous organism - less gladiatorial than Taylor’s 1978 bands, but no less radical in its freedom.

"Röntgen" is Ø's (aka Mika Vainio) subliminal, minimal techno classic, and was featured on the first Sähkö Recordings release in 1993. Spatial, silvery-sharp, and reduced yet frenetic, it's a blueprint of drum machine and synth work that helped redefine an era in techno. This special-edition 12" also features a full-side cut of a previously unreleased Ø track from 1995. The untitled B-side carries the same approach as the title track—minimal TR-808 and acidic synthesis—but in contrast to the har…

In Energy Center, Ed Hazell tells the essential story of Studio Rivbea, the Lower Manhattan loft where Sam Rivers and Bea Rivers made radical music possible on its own terms. Drawing on new research, photographs, posters and an unrivalled sessionography, the book restores 24 Bond Street as a home, school, rehearsal room and self-determined cultural engine.