The 1960s weren't just about The Beatles, the Rolling Stones and hippies, they also ushered in new forms of art: happenings, Fluxus, Neo-Dada, video art, to name just a few. As borders blurred, pop influenced art and art influenced pop. Many protagonists of the time chose to ignore borders altogether. This chaotic, euphoric atmosphere of extreme innovation lasted well into the 1970s and continues to resonate today.
 

"La Freiheit des Geistes", a collaborative album by Tom Dokoupil and Walter Dahn under the moniker "Die Partei“, emerged in 1981 with a fusion of Kraut electronica and early NDW vibes. Fast forward 43 years, their latest release "Celaviemachinery" reflects a refreshed sound rooted in their artistic origins. With dreamy landscapes and nods to influential records, the album is not just a homage but a testament to compositional beauty, inviting listeners into hypnotic experiences across its twelve tracks, reaffirming Die Partei's enduring significance in contemporary electronic music.

Faust is a group of artists who shared intense musical experiences in the years 1971–1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wümme which had been set up just for them. Two compact album productions followed, recorded at the Manor (21st–31st March 1973) and Musicland Studios (6th–12th May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as “71 Minutes” and “BBC Sessions+”. When reviewing this material for this compilation some titles have been changed, e.g. “Can’t Fly Away”, “Children’s Toy Etude”, “Beglückte Schlagbohrmaschine”, “Stay Or Leave” have been released as “Party 1”, “Party 8”, “Party 6” and “Party 9” previously and “Woke Up Outside The Dust Bin” was “Chromatic”.

In the beginning Martin Rev‘s eponymous debut solo record was released in 1980, not long after the second Suicide LP appeared. It is one of the most seminal albums to have emerged in the early years of electronic music.

Narrative film music and sound design for Robert Wiene’s classic 1920 psychological thriller.

2012 - 2014 digitally restored in 4K by the Friedrich-Wilhelm-Murnau-Foundation.

Musician and writer Karl Bartos has long been admirer of Weimar-era culture. During his time in Kraftwerk, he helped create the stunning track ‘Metropolis’, directly inspired by a band viewing of the classic 1927 Fritz Lang film of the same name. The original orchestral music composed for The Cabinet of Dr. Caligari by Giuseppe Becce had long been lost and in 2005, after watching the film, Bartos imagined what it would be like to create an entirely new one in the 21st Century in his home studios in Hamburg. Now with crystal clear images, digitally restored by the Friedrich-Wilhelm-Murnau-Foundation, the film is visually the best quality it has ever been, and now, with Bartos’ soundtrack, there is impressive sound to go with the haunting vision.

Ja, Panik sind zurück! Während das letzte, experimentell-forschende und in viele Richtungen mäandernde Pop-Album "Die Gruppe Ja, Panik" (2021) ihr überraschendes Comeback nach siebenjähriger Kreativpause markierte, ist "Don't play with the rich kids" nun so etwas wie ihre Rückkehr als Rock-Band. Als die Gang aus dem Burgenland, die sich spätestens seit "The Angst And The Money" (2009) in unser aller Herzen gespielt hat.

Kreidler's seventh long-playing record for Bureau B is an affair of electronic pop music nurtured in now-clubs and rooted in Rhenish kraut, British post-punk (with a touch of NYC and Brussels) and international polyrhythm. In the 30th year of the band's history, on Twists (a visitor arrives) "Düsseldorf's second most famous band" (Boomkat) collaborated on four of the nine tracks with guests Khan Of Finland, Maxim Bosch, Natalie Beridze and Timuçin Dündar. They left the cover design in the hands of Fette Sans.

Welcome to Kreidler's postpostpostpostpostpostpostpostmodern album!