Bureau B once again dive into the Sky archive, unearthing another overlooked masterpiece long due for rediscovery. Originally released in 1985, Voyage finds Dieter Schütz venturing beyond his Berlin School roots into a realm of lo-fi immediacy and New Age naivety. Every instrument is played by Schütz himself, except for the drums on “Above”, which are performed with syncopated zeal by Michael Fecker.
While its textured synthscapes and wistful melodies may echo the aesthetics of 2010s Vaporwave, Voyage captured a longing for another world, not through borrowed nostalgia, but through a contemporary vision of escape. Here, Schütz’s music is lush yet unpretentious, full of warmth, curiosity, and the gentle imperfections…
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Peter Baumann left Tangerine Dream — the pioneering German electronic group founded by the late Edgar Froese — for good in 1977, after helping shape the emotive synth sound found on albums like Phaedra and the soundtrack to Sorcerer. Since Baumann’s departure, Tangerine Dream went on to release something like 75 more studio albums, not including their abundant soundtrack work and live material. Baumann, on the other hand, has produced only a handful of records, most of them from the late-‘70s.
Nightfall is his second solo album of this century, following 2016’s Machines of Desire. While that album explored the darker side of the silicon romance of his ‘70s output (Daft Punk learned a thing or three from Baumann’s 1979…
Das Kinn, Bureau B’s new signing, feels like a bold new discovery even if he’s in his mid-40s. Hamburg’s experimental imprint finds itself in the unusual position of being one of the most consistently interesting labels on the planet whilst also fielding a roster of artists of a certain vintage such as Karl Bartos, Peter Baumann, Faust and Martin Rev. Fresher blood about the place augurs well, but don’t expect sunshine and roses. Ruinenkampf serves as a millennial cri-de-coeur, expounding upon how broken everything is.
Das Kinn arrives to the slow, steady beep beep beep of ‘Jamais Vu’. It’s a ballad of solemnity, originally recorded by 80s Berlin tape underground outfit Teurer Denn Je, and it reverses in like an articulated bus, warning us to get out of the way.
