Bureau B


180 gram vinyl. Includes full album on CD. "The notion thatJochen Irmler and Gudrun Gut would one day merge the best of their two worlds was never quite to be expected. We hear Irmlers meandering, wistfully psychedelic organ sound, seeming to come from a different era. And we hear Guts reverb-laden, whispering, breathy voice as she sings: Sonnenbrille auf, wir gehen zu den Sternen/Sonnenbrille ab, wir tauchen tief hinein (in the track Auf & Ab). Both approaches to music -- the Krautrock-informed, epic willingness to explore on the part of Irmler; the structured and technoid Berliner discipline (which is practically a contradiction in itself) of Gut -- are conjoined in glistening beauty on this collaborative album 500m, recorded at the Faust studio in Scheer in Autumn of 2013. Analog and digital, town and country, past and present, elliptical melodies and linear beats -- all complementing each other in a most cosmic manner. Gudrun Gut: I had asked Jochen if perhaps we might like to work together. Both with Faust and his solo works, his approach is more improvisational. Improv is not exactly my thing; I dont work that way. I tend to construct something, then refine whats been recorded using the computer, until everything fits. But Jochens organ-playing has always fascinated me. He sits down at the organ and plays and plays, while I tend to dissect everything, then deconstruct and collage things. Jochen Irmler: A few years ago, when she played at our Klangbad Festival, I asked Gudrun if she might like to make an album with me. For more than a decade, I have been following a concept that merges electronics and percussion -- and most collaborations were solely among men. I wanted to break with that and asked Gudrun if she would like to complement my organ improvisations. And in her case, she doesnt play the drums, but programs the drums. In fact, the clash of these two schools is especially constructive. Some pieces consist only of snippets and cut-ups of Irmlers organ, which are held together by Guts programming and her voice. In other tracks, the organ plays through. The division of labor is interesting: During the initial two sessions in Scheer, Jochen Irmler was at the helm, while Gut contributed rudimentary grammar -- simplistic backing beats, rough architectures, moods. Back at her own studio in Berlin, Gut refined and deconstructed the sometimes up to 30-minute long original improvisations. The roles were essentially exchanged, with Irmler listening from a distance via file-sharing. When listening to the album with that in mind, one can guess how much editing is behind these tracks. If two such esteemed musicians as Jochen Irmler and Gudrun Gut not only declare their mutual trust, but also live it out within the framework of a co-production, as described with the example of their working method, the result is per se relevant, because it is a historical document. That it also sounds so incredibly inspired, of course, is a result of these coordinates, but by no means self-evident. Why might it be so? Where does the magic of these recordings come from? Gudrun Gut: I was constantly dizzy during production in Scheer. I asked Jochen why this could be. He replied, We are 500 meters above sea level here. That immediately made sense to me, and at the same time explains the album title." -Max Dax, Warsaw 2014.

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After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.

This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).

Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.

Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.

Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).

So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.
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