{"title":"Krautrock","description":"","products":[{"product_id":"ash-ra-tempel-starring-rosi-50th-anniversary","title":"Ash Ra Tempel - Starring Rosi (50th Anniversary)","description":"","brand":"MG.ART","offers":[{"title":"Limited 180g Pearl Sunrise LP","offer_id":53021389357398,"sku":"MRM-00214","price":33.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/6e760f2942a055a01e6d43476cdc11fc.jpg?v=1775186723"},{"product_id":"cluster-sowiesoso","title":"Cluster - Sowiesoso","description":"","brand":"BUREAU B","offers":[{"title":"Vinyl LP","offer_id":53021419929942,"sku":"MRM-00688","price":30.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/images_91e6cf48-833f-437a-a97f-27493faf8d39.jpg?v=1781025264"},{"product_id":"faust-iv-2025-reissue","title":"Faust - Iv (2025 Reissue)","description":"\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #242424;\"\u003eBy 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e++++++++++++\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003eFor the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin’s newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003eTongues deeply in cheek or else aimed squarely at the British music press responsible for the reductive term, Faust open this oeuvre with “Krautrock”. Over eleven minutes, Faust lay down insistent sequencers, seesawing guitars and subterranean fuzz, slowly building before erupting into the funkiest motorik imaginable, fizzing with smart syncopation, fills and accents. Though the track is a titular parody of a sonic stereotype, Faust’s version has far more texture and technique than the rest of the pack. “The Sad Skinhead” enters with a gleeful shout and settles into a bizarre reggae lurch, complete with marimba plinks and arch lyrics about heartbreak and hairstyle, which skirt the surreal in typically Faustian fashion. Squint your ears and it’s almost three minute pop perfection. Almost. That same tension animates much of the album: a shrugging flirtation with form, always undercut by whimsy or abrasion. “Jennifer”, perhaps the band’s most beautiful creation, floats on pulsing bass and delicate guitar, a dream-pop prototype two decades ahead of schedule. It mutates as it plays, descending into feedback and eventually collapsing into a broken piano jig, as if self-conscious of its own beauty.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003eThe B-side trades coherence for combustion. “Just A Second (Starts Like That!)” is all twitching electronics and FX-laden riffage, spiralling into a surreal chamber of wah pedals and pastoral keys. “Picnic on a Frozen River, Deuxième Tableaux” offers some of Faust’s jazziest interplay, bass nimble, sax carefree, before taking a hard swerve into proto-funk and chaotic organ. “Giggy Smile” opens mid-conversation and dissolves into Francophone acid folk, while “Lauft… Heisst Das Es Läuft Oder Es Kommt Bald… Läuft” sees a contemplative organ grow ever more resonant across its run-time, double tracking and reverb seeing it snaking through the long grass of the stereo field. Then comes the sting in the tail: “It’s A Bit of a Pain”, the album’s closer and its emotional knot. A hushed acoustic ballad soon ruptured by fizzing electronics and Swedish monologues, it’s half Stones-y love song, half electro-acoustic prank, a fitting send off to this head-spinning listen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003eFaust IV is uneven, restless, and full of contradictions, and that’s exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don’t expect to follow the conversation, just keep listening.\u003c\/span\u003e\u003c\/p\u003e","brand":"BUREAU B","offers":[{"title":"CD","offer_id":53021446963542,"sku":"MRM-01083","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/58607021fe77b2baaaf7e67033cb05e6.png?v=1775191752"},{"product_id":"faust-so-far-2025-reissue","title":"Faust - So Far (2025 Reissue)","description":"\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; color: #242424;\"\u003eSo Far’, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don’t be fooled. This is still Faust: unpredictable, subversive, and unbound by convention.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003eThe circumstances surrounding the album’s creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio - a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e“It’s A Rainy Day Sunshine Girl” sets the tone, sixteen bars of primal percussion exploding into a relentless rhythmic mantra, somewhere between a ritual and a rave-up. Sosna’s deadpan vocals and skeletal guitar, Diermaier’s thudding pulse, and Peron’s circular bassline create a mood both hypnotic and unsettling, on a track which feels as if it was beamed in from both the Velvet Underground’s New York loft and the outer edges of the Zodiak Free Arts Lab. The song’s descent into a howling maelstrom of Irmler’s droning organ and Wüsthoff’s screaming sax captures Faust’s unique balance of chaos and clarity.  Through its taut two and a half minutes of folky finger picking and icy electronics, “On the Way to Abamäe” oscillates between pastoral prettiness and gloomy paranoia while “No Harm” sets a new standard for tone shift. Muted horns and swaying syncopation, gradually joined by bass and organ, build into a pensive wave of orchestral heft, cresting into a bruised and bluesy vision of tender Germanicana, which is quickly cast aside in favour all out freak-funk. It’s the kind of acid overload which would leave today’s microdosers a quivering wreck, but in the hands of Faust finds the sweet-spot of spectral joy, where mind expanding magic never quite takes you to the point of madness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003eThe madness soon comes, taking the form of the overlapped, unhinged and tape-chewed slide guitar which introduces the irresistible psych groove of the title track. Driven by the syncopated repetition of a jazzy rhythm section, punctuated by staccato horns, and topped with all kinds of swirling, swooning electronics and vox, “So Far” is arguably the most catchy moment in the Faust Oeuvre. “Mamie Is Blue” pivots sharply into proto-industrial terrain, prefiguring post-punk’s darkest urges by nearly a decade, while “I’ve Got My Car and My TV” is pure Dada, with radio static, voice fragments, and machine-like repetition coalescing into a media-age mantra of alienation. Brief and baffling interludes “Picnic On A Frozen River” and “Me Lack Space” dial up the disorientation before “Put On Your Socks” closes out the set with a foray into swing and ragtime, refracted through that particularly Faustian prism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-fareast-font-family: 'Times New Roman'; color: #242424;\"\u003eTaken as a whole, ‘So Far’ is less a linear progression from Faust’s debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, ‘So Far’ rearranges the wreckage into strange new shapes. There’s a sly humour here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren’t acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.\u003c\/span\u003e\u003c\/p\u003e","brand":"BUREAU B","offers":[{"title":"Indies Blue LP","offer_id":53021447029078,"sku":"MRM-01085","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":53021447094614,"sku":"MRM-01086","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/f704db8a685fb4871fac96e056a040c8_b35f5dce-4838-487b-b5e7-1c35bd383814.png?v=1775191767"},{"product_id":"neu-neu-50th-anniversary-edition","title":"Neu! - Neu! 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