Name: The Sum of Our Wounds Cassette Recordings 1973-85
Brand: Martin Rev

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

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Download code: No

Bonus disc

Bonus disc: No

Release date

2023-10-20

Format multiplier

Catalogue number

BB439LTD

UPC / Barcode

4015698624021

Red LP

Artist

Martin Rev

Label EU

Bureau B

Genre EU

New Wave / Post Punk

Bureau B is an independent record label, music publisher, and booking agency based in Hamburg, Germany. Founded in 2005 by Gunther Buskies as a sister label to Tapete Records, Bureau B specializes in releasing a diverse range of electronic and avant-garde music. With a focus on reissues and new productions, the label has built an extensive catalogue that includes iconic albums from the Krautrock genre of the 1970s and early 1980s. They also release recordings by influential artists such as Die Wilde Jagd, Kreidler, Toulouse Low Trax, and more.

Known for their commitment to preserving classic electronic music, Bureau B has been rereleasing albums from renowned artists like Cluster, Faust, Moebius, Roedelius, Plank, Schickert Schnitzler Tietchens Tyndall. In addition to these reissues, they also release works by similar artists including Blenner Heldon Pinhas Rev or NDW Plan Pyrolator.

With their impressive catalogue and dedication to promoting innovative music across various genres within the electronic spectrum - from pop to avant-garde - Bureau B continues to be a prominent force in the global music industry. Their contributions have solidified them as an authoritative figure in the world of independent labels.

Martin Rev is an American musician and instrumentalist, born on December 18, 1947 in Brooklyn, New York. He is known for his unique style and experimental sound. With a recording studio located in New York City, Martin Rev has produced numerous albums that have captivated audiences worldwide.

His music can be described as a fusion of electronic and punk rock genres, creating a distinctive sound that sets him apart from other artists. Martin Rev's work has been influential to many musicians and performers such as *Alan Vega*, *Suicide*, *Chris & Cosey*, and *Bruce Haack*.

With his innovative approach to music production, Martin Rev has garnered a dedicated fan base over the years. His contributions to the industry have solidified his status as one of the pioneers of electronic music. If you are looking for groundbreaking sounds that push boundaries, look no further than Martin Rev's impressive discography.

Newest Listed Items

The archetypal Martin Rev sound – a perennial influence on generations of musicians – is most prominently in evidence in the works of Suicide, the duo he played in across the decades with Alan Vega. However, the radical and distinctive nature of his music can be traced further back in time, originating in the base energy of rock’n’roll which the teenage Rev experienced as the ubiquitous soundtrack to his home city of New York.    Rev initially explored free jazz and similarly free forms of musical expression before discovering the magnetic attraction of electronic production and instrumentation, enabling him to create music in a wholly independent and autonomous environment. Using the most rudimentary equipment, he grafted the roots of rock’n’roll into the process of combining effects and devices to generate electrified sounds, the likes of which had never been heard before. This music would map out the way forward not only for Suicide, but also for a fascinating solo career.    Martin Rev’s predilection for experimentation knew no bounds. At home, he played around with rough ideas, trying out all manner of variations and colorations. These tape recordings provide a captivating insight into his modus operandi, often representing the early stages of what would later become Suicide tracks or cuts on Rev’s solo albums.    Spanning the period 1973 to 1985, the recordings on "The Sum of Our Wounds" are much more than a collection of demos and outtakes. One has the sense of listening to a rounded album of familiar compositions, now portrayed in a completely new light. The brittle fragility of these cassette pieces reveals a deep-lying sensitivity, like a collection of wounds.    Martin Rev himself remains as transfixed as ever by these recordings, as if he could immediately pick up where he left off and continue to expand on the ideas that came to him decades ago: "They often have a certain freshness or unpolished energy here... and (there is) always scope for new ideas, to be derived from them as a whole or even in small areas."  The cassette medium proves to be more than a means to an end – the tape recorder itself has a role to play as an instrument, the ideal basis for an artist who understands how to condense an idea into its fundamental elements: &nbsp;"The cassette sound, with its individual peculiarities, many even thought of in terms of inferior sound, can have an interesting dynamic. Maybe especially in certain minimal contexts when they are not being overloaded. Although they often seem to take on a lot of texture as well and with a warm response."  And so these snapshots can be seen as stages of a ceaseless evolution, one we are allowed to witness as we sit alongside Martin Rev at the tape deck, listening as he captures the sounds of the unquiet city.

The Sum of Our Wounds Cassette Recordings 1973-85

Music EU