Legendary Berlin/Düsseldorf-based Outfit Kreidler to Issue New Album, Schemes

Hamburg, Germany, March 19, 2026 — Bureau B announces that the internationally renowned Berlin/Düsseldorf-based outfit Kreidler will release its ninth album for the label on May 15th. With Schemes, Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. The trio's new album features atmospheric soundscapes as well as Kreidler's signature rhythmic groove, which is perhaps more buoyant and less insistent than in the band's prior work. The album is also characterized by a more pronounced use of nature/outdoor recordings throughout, and the track featuring Leo Garcia as guest vocalist is based on just such a field recording.

From its first moments, Schemes signals a shift in tactics - where other Kreidler recordings often move with propellent insistence, here motion feels lighter on its feet. Rhythms skip rather than stride. Synth lines meander, overlap, or gently collide. The music seems less determined to arrive somewhere; more curious to discover new places along the way. ​ ​

The title of the album hints at design, but the album delights in unravelling rigidity. If a scheme is a plan, here it is a starting point rather than a set of orders. Structures are sketched lightly, leaving an ample margin for chance. The effect is playful without being restless. There is a subtle humour running through Schemes. Less in the form of overt gestures, but in the mischief of its arrangements. ​ ​

The trio of Thomas Klein (percussion, drums, found sounds), Alexander Paulick (fretless bass guitar) and Andreas Reihse (synthesisers, electronics, field recordings) set up in Berlin for the sessions – initially at Morphine Raum on the sideline of public performances. But the bulk of the recording took place more privately, at andereBaustelle. Here the group made good use of various instruments and objects discovered onsite – most notably a gigantic cuboid steel oil tank. Schemes reflects this spontaneity, with the impulses developed primarily in situ. ​ ​ ​

Much of the album’s quality comes from the band’s embrace of ambient space. The result is music that feels generous rather than dense. Yet the ambient character of Schemes does not imply stasis. There is movement everywhere, but it is subtle and multidirectional. Even at its most stoic moments, it never feels solemn. Schemes reflects intentionality that is embedded in the fluidity of the music. It is heard in the balance of timbres and in the way disparate elements coexist. Precision remains, but here it is relaxed. ​ ​ ​

The plurality of the title is suggesting multiple approaches and various possibilities coexisting. Each composition proposes its own internal logic, its own small world. Some tracks hover in near-weightlessness, built from slowly shifting textures and delicate fragments. Others introduce a more defined rhythmic undercurrent, though even here the emphasis is on bounce rather than drive. The result is a record that shimmers with curiosity, balancing intention with improvisation, and finding joy in the disciplines of folding and unfolding. ​ ​

The songs on Schemes are like beads hanging on a string. Each one distinct, yet connected. Swinging in a warm breeze. Catching the light from different angles. And so we begin: "Beads," with a funky stabby synth drives the song, which nonetheless maintains a hazy ambivalence. "Klove Twin" begins with tiny bells emanating some foggy substance intoxicating the band into a mid tempo shuffle with some brash brush strokes. Scrap Metal might be the genre. "Snowflakes" are enjoying a summer dance; layers of synth melodies are intertwined, and no one melts here. "Bellboy": - the suit suits them, indeed.

"The distance between you" meanwhile is a dreamy love song of sorts, slightly melancholic, a longing going round in a ritornello like the protagonists do in L'Année dernière à Marienbad. "Looming Large" is simply looming large, like a caterpillar on an upward spiral, based on a rhythmic sequence the other instruments care about only occasionally. "Marble Upset" plays with our memory, activating recollections of present past, a slowed down rave, faint images, glimpses and gasps. ​ "Via de me", big city, nocturnal lights, an ambient pop take. It may be really quiet, still there are better things to do than to sleep. ​
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​Which leads us to "Fenix": Leo Garcia just happened to be in Berlin for a concert. The old friend from Buenos Aires built his euphoric vocal melody impromptu over a noisy urban field recording. The bird rising up out of the ashes, fighting the miseries, towards the light. It is a protest song of the unusual kind.The home stretch is "Tar", where some cicadas continue in a similar spirit, tiny animals having a night on the tiles. The smell of tar in the sun, soft and deep black, in sharp contrast with the background of gently curved hills, pastel-coloured, asking what it takes to live peacefully together. ​ ​

The cover artwork by Luzie Meyer mirrors this spirit: A dialogue of sorts, on a string, a psychoanalytic dance. Ideas clash, yet disputes are solved amicably.

For more information on this and other Bureau B releases, please visit https://www.bureau-b.com/releases. ​
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About Bureau B

​Bureau B is platform for exciting varieties of electronic, free-spirited music. The spectrum ranges from pop to avant-garde, and the label has amassed an impressive catalogue of reissues and new productions in recent years, including classics from the genre of electronic music in the 1970s and early 1980s popularly classified as Krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, Moebius, to name just a few. Bureau B is based in Hamburg, Germany.