Name: Demo Tapes 1984-86
Brand: Heiko Maile

Bonus disc

Bonus disc: No

Catalogue number

BB375LP

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Colour

Black

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2021-06-25

Signed copies

Signed copies: No

Supplier GB

Shellshock

Tax rate GB

Standard:20

UPC / Barcode

4015698205848

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Total Cap

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / black

BB375

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4015698783162

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1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Heiko Maile

Genre GB

New Wave / Post Punk

Label GB

Bureau B

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.

The beginnings of Camouflage represent a personal voyage of discovery in so many ways. Ideas, compositions, arrangements, sound and not least the technical question of the recording process - this was all completely new ground for me. Getting to grips with songwriting and studio engineering without any form of training or professional guidance involves a great deal of trial and error and, above all, plenty of time. Any spare minutes I had were spent with our synthesizers and recording equipment. Every demo, every attempt to imitate the sound of a favourite record or device rang true to the mantra of "learning by doing"... equipment with no memory function (please do not touch!!!), the constant humming of cheap wires and cables rotten-sounding cassettes (which had been recorded over several times, of course), a healthy degree of overconfidence (who needs a Fairlight CMI?) or the frequently unpredictable vagaries of analog technology on a home studio budget - there were many lessons to be learned. Most of the tracks on this album were recorded with a basic stereo (2-track) cassette recorder. The studio set-up looked more or less like this: a drum computer (no Midi) and a sequencer were connect-ed to each other and synchronized rhythmically. I crafted melodic sequences and rhythms and usually transposed them to the desired pitch manually, using the keyboards. Other live instruments were played over the top. Then everything, the sum of all the sound sources, was put together in a kind of "live recording" with the aid of a mixing desk. Just a single mistake would mean having to start all over again. Reconfiguring many of the sounds once the controls had already been adjuste was a painstak-ing process. I ended up with heaps of cassettes, often featuring seemingly endless versions and var-iations of the same track. From today's perspective, it proved to be a blessing in disguise as it has enabled me to go beyond merely editing the tracks as now I could try out combinations of different takes. State of the art studio technology and audio restoration algorithms helped me to get these tracks back into listenable shape. Sifting through the archive and unearthing long-forgotten song ideas can create a retrograde vibe. Not in my case, however, far from it! Naive, radical? Is that what I was hearing? Were these the musical musings of someone just beginning, or evidence of a concept well executed? Either way - I hope that the tracks selected will whet the appetite of fresh listeners to explore the early phase of my electronic music and the bizarre sonic worlds I inhabited.

Demo Tapes 1984-86

Music GB