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16-17: Gyatso vinyl edition released 22-02-2021!

The first ever vinyl edition of the classic 1994 album Gyatso by 16-17 is out today!

The vinyl version features 6 tracks and comes with a download code for the full 13 tracks album. For the presale period there were even three additional live tracks added to the package. If you’re quick, you can still grab those, they will be removed from the release in the evening of February 23.

Order via bandcamp (either digital only or the record with download and receive an immediate download link). We recommend this if you’re only ordering the album, or if only ordering downloads/files.

If you are looking to combine the order with other records/magazines etc you can order it via our online shop. You will then receive a download code.

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Noize Creator: Who I Am (Tactical Time Weapon Mix By Noirodyn)

Noize Creator: Who I Am (Tactical Time Weapon Mix by Noirodyn, PraxisX2, 2021).
Relaunching the Praxis Digital Remix Series, Noirodyn is back with a remix of Noize Creator’s ‘Who I Am’ from ‘The Future Is Cancelled’ 12″(Praxis 51, 2013). Reminiscent of the hard drum’n’bass meets breakcore style of his releases on Sub/Version (under the monicker Vile Enginez) this is an epic interpretation of Noize Creator’s harsh breakcore work.

Now exclusively avaiable via the praxis bandcamp (link above)

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Praxis Records Sales Charts 2020 – Physical and Digital

An overview over the retail sales through our various channels in the year 2020. Physical products include vinyl, print, cassettes, CDs etc sold via the Praxis Online Shop, the physical Praxis Shop @ Disconnect Store Berlin, seller PRAXISRECORDS on discogs, and physical sales via the Praxis Bandcamp. In contrast to the monthly charts we publish in our shop blog, the charts here do not include wholesale/B2B sales.

These records (and magazines) sold the most copies in our stores in 2020

Digital sales (below) are the digital sales on our bandcamp page.

The order of the first 7 on the physical sales chart turned out to be an extremely close race, with the sales in the physical shop tipping the balance in favour of the most recent issue of Datacide. The most sales of Inferno to Zero were in the Praxis Online Shop, while Slaughter Politics did best on Bandcamp. Sales on discogs are much more evenly distributed with no clear “winners” (and the platform doesn’t allow for sales of print items).

Physical (Print, Vinyl, Cassette)

  1. Datacide Eighteen (Datacide 18)
  2. Nihil Fist: Inferno to Zero (Cathartic Noise Experience X-016)
  3. Slaughter Politics (Praxis 21 re-press 2020 on red vinyl)
  4. Nihil Fist: Audio Death (Independent Bloc 36, Bloc-02)
  5. Xylocaine: Succulent (Terrornoize Industry TNI25)
  6. 16-17: The Pandemic Wargames Remixes (Praxis 58)
  7. Jack Lucifer: King of the Dead (Terrornoize Industry TNI26)
  8. DJ Task: Interpretation des Leidens (Flash Fingers Berlin FFBLN02)
  9. Datacide Seventeen
  10. Messias: Dystopia Transcendence (Cathartic Noise Experience X-017)

Close runners-up: The Wirebug (Praxis 57), TNIADV#03


  1. Slaughter Politics (Praxis 21)
  2. DJ Scud: Strong Back/Heavy Duty (Sub/Version 009)
  3. The Wirebug: Factory Food (Praxis 57)
  4. Nomex & Scud: Maschinenbau EP (Praxis 56)
  5. Bourbonese Qualk: Autonomia (Praxis 5)
  6. 16-17: The Pandemic Wargames Remixes (Praxis 58)
  7. Base Force One: Expenditure of Excess Energy (Still Raven 003)
  8. DJ Jackal: Drumtrax (Praxis 9)
  9. Base Force One: Welcome to Violence (Praxis 27)
  10. Eiterherd: !984 vs. 1999 Vision vs. Reality (Praxis 30/Widerstand LP1)

On a side note: digital sales only account for less than 3% of total turnover(!)

Our sales channels:

Praxis Online Shop / Discogs / Bandcamp / Booklooker / Datacide

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16-17: Gyatso (Liner Notes by Jason Pettigrew, 2008)

Jason Pettigrew’s liner notes which provide interesting additional information about the album Gyatso by 16-17 were originally published in the booklet for the 2008 CD rerelease on Savage Land. We republish them here in view of the forthcoming first vinyl release of the album next month.


Breaking boundaries? For over two decades, Swiss splatter-core outfit 16-17 obliterated the walls between so-called “exclusive” musical genres, turning the constructs of jazz, metal and punk into dust while exploring new ways to convey the urgency and power ricocheting in the band members’ skulls. Since their 1983 inception, 16-17—sax player/chairman Alex Buess, drummer Knut Remond and guitarist Markus Kneubühler—created an aesthetic that consistently delivered maximum devastation, exhaustion and catharsis.

Admittedly, you may have seen similarly toned descriptions heaped upon any number of outfits and individuals that have dared mix genres to create a new strain of aural virus. But don’t take the word of an over-zealous liner-note writer when calendars carry the ultimate truth: 16-17’s first release, the 1984 cassette, Buffbunker And Hardkore (currently available, along with the eponymous 1987 release and 1989’s When All Else Fails, in the Early Recordings set, issued by Savage Land in 2006), predates the then-nascent Downtown New York scene by five years—way before John Zorn heard his first Napalm Death record and started compacting Ornette Coleman’s repertoire into blink-and-you’ll-miss-it blasts that simultaneously offended punks and jazz purists. To his credit, Buess spent many years constructing a forward-thinking campaign of sonic evacuation—as opposed to, say, blowing his mouthpieces into Styrofoam cups of water to a rarified audience of cosmopolitan hipsters.

Although 16-17’s music was parsecs away from whatever the rest of European (FMP, ECM) and New York-based (Zzz) jazz scenes were doing, Buess wondered if the outfit had reached a creative dead end. After a 1989 tour of Germany in support of When All Else Fails, he felt the band had reached a sonic and personal plateau. From 1990 to 1994, 16-17 played few concerts, and the ennui was contagious: Remond pursued solo works and recordings with Voice Crack and Borbetomagus, while Kneubühler withdrew from playing music entirely. Buess became fascinated with recording techniques and the new digital technology (sampling, effects processing, Pro Tools and hard-disk editing) that had recently become available. He realized he had inadvertently created walls around himself in
16-17’s live-band format, but wondered what new musical dimensions he could chart by using the studio as an instrument. He began outfitting his Basel, Switzerland facility, Wolf 2.8.1., with as much new (computer workstations, digital outboard gear) and vintage equipment (tape echo units, microphones, modular synthesizers) as he could afford.

In 1993, Buess met Kevin Martin at the sessions for Liebefeld, the second album by Swiss hyper-jazz group Alboth! Martin, the British saxophonist, producer, promoter and leader of the mighty 10-piece aggregate God, helmed the sessions, while Buess was summoned to add his mercurial sax work to the proceedings. Martin was a big 16-17 fan who, over the years, had tried to contact the band, but always fallen short, thanks to Buess’ not having a fixed address or phone at the time. Nevertheless, the two musicians became friends, bonding as self-professed “sound maniacs,” who shared similar attitudes, aesthetics and approaches to music.
Their first musical foray together was recording Under The Skin, the 1994 debut album by Martin’s ad hoc dark-dub unit Ice. The sessions were significantly enlightening on both a musical and personal level that Buess asked Martin to produce 16-17’s new recordings.

“We both have similar psychological profiles and patterns,” Buess says about his working relationship with Martin. “Kevin once told me that making extreme music is like eating very hot and spicy meals: The adrenaline level rises, and you feel like burning. We want our records to be an adventure for the listener.”

“I really liked the intensity of 16-17’s early recordings,” recalls Martin. “But I felt they were more like live documents and I wanted to hear them enhanced by the power of studio layering/technology. I was obsessed by Public Enemy’s Bomb Squad production team and I felt it would be amazing to hear a free-jazz outfit given a similarly heavyweight sonic-assault treatment.”

Buess had approximately six hours of 16-and 24-track live recordings of the original trio, from which he and Martin began their editing process. Their first step was to edit and assemble Remond’s drums into loops of varying lengths. Then, at Martin’s suggestion, the rhythm tracks were shipped off to Godflesh bassist C. Christian “Benny” Green in Birmingham, to add his own
low-end theory to 16-17’s idiosyncratic skree. (Martin: “I felt he was largely underrated and Justin [Broadrick] got most of the attention in Godflesh. I felt Benny was an immense bass player and I knew he had really eclectic tastes.”) With the rhythm bed in place, Martin and Buess added Kneubühler’s already corrosive guitar work (which was further mutated by a bevy of digital effects) to the mix. Martin then dropped samples of his own design—including, but not limited to short soundtrack excerpts, orchestras,
machine sounds, sirens, the band members’ performances and voices lifted from ceremonies, loudspeaker announcements, choirs and porn videos—to add an otherworldly texture to the proceedings. (According to the production notes, the samples had file names like “Sick Animal-Eraserhead,” “Slow Motion,” “Pulp,” “Berserk Machine,” “Tribal Suicide” and “Lead Pipe Trance.”) Then, the mighty Buess—who would routinely win gold medals if circular breathing ever became an Olympic sport—played new sax parts over the constructions. The reconfiguring of the existing material via computer editing and sampling with Buess’ looming physicality made for a disc that Buess describes as “a mixture of dinosaur and rocket! We were very happy when we listened to the mixes. [The tracks] don’t sound constructed at all. It still kept the impression of live sound, but it was much more powerful.”

Looking back on the proceedings, Martin says he enjoyed his role as Phil Spector from Hell, with Buess egging him onward. “Alex was an invaluable part of my production-learning process,” he reflects. “He did seem a little alarmed by the continuously harsh use of high frequency. He’s a perfectionist and a worrier—so am I—but we were both trying to see how far we could go. We both wanted to push the boundaries of jazz, and I particularly wanted the cerebral impact to combine with an equally uncompromising physical attack. At the time, I was transfixed by the sonic sorcery that digital innovation had allowed. That, combined with the analogue gear gave the record some warmth and some completely barbaric frequency ranges.

“Alex wanted me to stoke up the fire,” he continues. “He made it apparent to me that he felt my God recordings were too laid-back. [Laughs.] I took the bait, wanting to amplify their musical rage with my dreams of a wall of noise.”

The sessions were a successful manifestation of Buess’ personal aesthetics, as well as his non-musical influences. He is fond of using the term “biomechanical”—originally coined by Swiss artist H.R. Giger, whose frequent images of chrome-plated and mechanized human decay are well known to describe the human and technological processes of the music. Likewise, Buess also cites the modern minimalist architecture of Peter Zumthor and sculptor/film director Bernhard Luginbühl as visual analogues for the disc’s raison d’etre. “[The works of these people] helped us in finding a vocabulary, an expression chart, for the production,” he says. “That’s why if you listen to [Gyatso], you’ll find all these elements as a fusion.” Clearly, the most curious of his influences shines through in the title. Buess titled the disc in homage to Palden Gyatso, the Tibetan monk who was imprisoned and tortured by the Chinese government for 33 years before human-rights activists secured his release. At first listen, one would think the title was ironic, considering all of the sonic violence contained within. Not surprisingly, Buess prefers having balls over merely being ironic. “It was a political and human statement,” he says, emphasizing the importance of the title. “We respected the great energy and intensity of this man. Gyatso is not so much about violence; it’s about energy and power.”
Released in June 1994 on Martin’s Pathological label, Gyatso significantly polarized listeners due to its sophisticated production and primitive emotional context. The opening salvo, “Attack > Impulse,” is the sound of world panic: The drums regenerate from snare rolls to Uzi fire as Buess’ sax work seemingly channels everything from dive-bombing jets to wounded animals. The rudimentary beats and pulsating frequencies on “Black And Blue” generate menace while Buess viciously tongues his reeds like a meth-addled King Curtis as the public address system in Hell’s airport instructs the damned to their final destination. “Motor” is as close as the disc gets to old school 16-17 (similar to the tracks on the trio’s self-titled release), but it remains fortified by the dense production and samples that sound like several hundred immolated orchestras. “White Out” is exactly that, a full-on mélange of sax shrieking and punishing tribal beats (or is it actually a motorcycle idling?), densely packed to approximate death by avalanche. Alternate mixes of “The Trawler” and “Motor” were added at the disc’s end to document the level of audio morphing and, according to Martin, “increase pressure on the listener.” Mission accomplished!

“It was really something that was different to what everybody was doing then,” opines Buess. “The computer technology had started to develop, but a lot of people—especially in the musical field—were still not aware of the huge amount of possibilities this technology would add to creative studio production. Gyatso was received curiously: Some people and journalists loved it immediately because of the furious energy and ‘constructive deconstruction.’ Naturally, some people hated the disc because it was too relentless.”

Martin’s take is significantly more passionate—and a lot more brusquer. “This was cyber-jazz that was virtually ignored at the time, while every critic sucked Zorn’s dick. Zorn was—and is—incredible, but Alex is a hugely underrated player, capable of amazing explosions of sound and emotion. Alex is more of a splatter technician who’s more interested in releasing his demons than shifting units. He seems to need the release more than prettying things up for the listener.”

If some knee-jerking critics decried that 16-17 had traded their soul for a body mass of integrated circuits, all bets were off in the live arena. Buess enlisted Alboth! drummer Michael Werthmüller and bassist Damian Bennett (from British doom merchants Deathless) for several tours in late ‘94 and ‘95. The trio realized Gyatso onstage with sampling technology that allowed them to replicate the disc’s punishing density and psychotropic dynamics. More importantly, the performances also raised the bar significantly in a way best described as “future primitive.” Each new performance found the trio balancing the brusque improvisation tempered by instinct and impulse (“attack” or otherwise) alongside the cerebral knowledge of operating and interfacing with the technology, and then responding to that gear essentially as a mechanized fourth member. (The band’s blistering performance at the 1995 Taktlos Festival was recorded; Buess promises its release will see the light of day.)

Gyatso sold respectably, considering how positively alien the thing sounded in a jazz climate marked by releases that were either reprehensible or simply coma-inducing. Buess had found respect from some unusual quarters, as well: Kevin Shields, the leader of renowned atmospheric guitar act My Bloody Valentine, was so fascinated by the disc that he extended an invite to Buess to join the band in the studio as programmer as they worked on what was to be the follow-up to their landmark recording, Loveless. (“I enjoyed it, but it wasn’t so productive,” recalls Buess about his month-long stint in their studio in the summer of 1995. “There’s not much more I can say about it.”)

The experience of Gyatso became a crucial first step in 16-17’s new direction. Human Distortion, a 1998 four-track EP for Alec Empire’s Digital Hardcore label, teemed with sonics both furious (Buess’ civilization-destroying sax tones) and fucked-up (samples of a television reporter delivering news of President John F. Kennedy’s assassination on the tastelessly titled “Headlead”). Likewise, Mechanophobia, a 12-inch single for the Swiss label Praxis released the following year, was impossible to get your head around at first listen, let alone getting your groove on in a dance club. But 13 years after its release, Gyatso—the original collision of worlds old and future—remains as vibrant and violent, caustic and confusing than ever. It also sounds like it was recorded last week. No small feat, considering how many of history’s genre-specific releases of an “intense” nature (punk, industrial rock, heavy metal, free jazz et al) have their own date-stamped crosses to bear.

“I’m surprised it still stands up so well,” admits Martin. “It is a difficult listen, and willfully so. But it was made to stretch the parameters of a stagnant jazz scene, where the spirit of Teo Macero could still be used to ignite reaction and demand both love and hate. No neutrality—Switzerland’s had enough of that!”

“I think all creative, innovative minds try to get as near as possible to an enhanced imagination,” offers Buess. “It does not matter by which means you reach this goal. It’s about trying to get the most out of what you can imagine. Which is why I think people like Albert Ayler, John Coltrane and Charlie Parker would have explored electronics with the same enthusiasm they had explored their instruments with during their lifetimes. If there is an urgency to express something, you’ll always find a way to do it.

“It’s all about choice,” he resigns. “If your choices are right, all the doors are open to whatever you can imagine. If the choices are wrong, everything is just meaningless and superficial.”

Jason Pettigrew
Two-Way Mirror
Cleveland, USA

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16-17: Gyatso

Praxis 59 / Skin & Speech 001
Artist: 16-17
Title: Gyatso

vinyl release 22 February 2021. 

Originally released in 1994 on Pathological, Kevin Martin’s label who also produced the record. CD only.
2008 re-released on Savageland, also on CD.

Remastered by Alex Buess in 2020
Vinyl cut by Shane the Cutter at Finyltweek.

Gyatso is the 1994 album by legendary “industrial noise jazz” outfit 16-17 produced by Kevin Martin (Techno Animal, The Bug) and first released on CD on his Pathological label, re-released on Savage Land in 2008. Gyatso is the only pure studio album recorded by the original 16-17 line-up of Alex Buess, Markus Kneubühler and Knut Remond and besides Martin also features G.Green from Godflesh as a guest musician.

Praxis is teaming up with Skin & Speech, Alex Buess’s label, to bring forth the first ever vinyl release of this crucial album and releases a 6-track LP edition with all the other tracks (there are 13 in total) available as a download. During the presale period only, three additional live tracks from 1995 were included in the package, recorded at the Taktlos festival.

16-17 started in 1983 in Basel, Switzerland. They released a number of cassettes, before debuting with their self titled and self released album in 1987. Two years later this was followed up by When All Else Fails, an LP of treated live recordings on Vision, the precursor label to Praxis. By this time 16-17 had already garnered a cult following with their incredibly forceful live performances.

Gyatso is a crucial release where the raw power of 16-17’s live appearances clashes with a studio-as-instrument approach, as Kevin Martin and Alex Buess add effects and dub techniques to the band’s recordings. Further collaborations between Martin and Buess include the ICE project which also included Justin Broadrick aka J.K.Flesh of Godflesh, the other half of Techno Animal, as well as Human Distortion, released on Digital Hardcore Recordings in 1998. Buess also took part of the Sprawl project with Peter Brötzmann, William Parker, Michael Wertmüller and Stephan Wittwer which appeared on Trost Records in 1997.

This vinyl release of Gyatso comes hot on the heels of two important records that came out in 2020: The album Phantom Limb on Trost, based on band recordings from 1995 and finished in the studio in 2019 by Alex Buess, and most recently the 12” The Pandemic Wargames Remixes on Praxis. The latter was a continuation of collaborations dating back to the pre-Praxis days of the Vision label, continuing with the 1999 release of Mechanophobia on Praxis as well as the more recent Vacuum Theory by Cortex and “Skin Craft” by Alex Buess and Daniel Buess.

Video trailer by Roger Graf on the Praxis Youtube channel
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Christoph Fringeli at LiveEvil London 2020

A short excerpt from CF’s set at LiveEvil, February 22, 2020. Playing Noface “Master of the Lost Souls” (from Praxis 6) and DJ Jackal “Drum Trax pt.1” (from Praxis 9). Booked to play early Praxis & Dead by Dawn tracks. Ah, back in the day when we had parties celebrating parties back in the day! That was great fun and the crowd was having it! Filmed by Lynx.

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16-17: The Pandemic Wargames Remixes

Praxis 58
The Pandemic Wargames Remixes
12″ – 24-08-2020

Release date: 24-08-2020

16-17 return to Praxis with a triple assault of ultrasonic remixes. The Pandemic Wargames Remixes are based on backing tracks originally recorded in 1995 for a follow up to the album Gyatso which eventually materialised earlier in 2020 in the form of the Phantom Limb LP on Trost. After that Alex Buess once more gave three tracks a severe treatment for The Pandemic Wargames Remixes 12″ on Praxis, bringing sound and mix firmly into the 2020s.

16-17 return to Praxis with a triple assault of ultrasonic remixes. The Pandemic Wargames Remixes are based on backing tracks originally recorded in 1995 for a follow up to the album Gyatso which eventually materialised earlier in 2020 in the form of the Phantom Limb LP on Trost. After that Alex Buess once more gave three tracks a severe treatment for The Pandemic Wargames Remixes 12″ on Praxis, bringing sound and mix firmly into the 2020s.
16-17 started in 1983 in Basel, Switzerland as a three-piece “industrial punk jazz” outfit with Alex Buess, Markus Kneubühler and Knut Remond. They released a number of cassettes, before debuting with their self titled album in 1987. Two years later this was followed up by When All Else Fails, an LP of treated live recordings on Vision, the precursor label to Praxis.
By this time 16-17 had already garnered a cult following with their incredibly forceful live performances.
Around the same time there was a proliferation of side-projects and Alex Buess became the sound mixer/co-producer of the Vision material and it wasn’t till 1994 that the band came out with a new album. Gyatso was produced by Kevin Martin (Techno Animal, The Bug) and released on his Pathological label (re-released in 2008 on Savageland, both times on CD only) and, besides Martin, featured G.Green (Godflesh) as a guest musician.
Buess also collaborated with Martin on the ICE project which also included Justin Broadrick aka J.K.Flesh of Godflesh, the other half of Techno Animal. Buess also took part of the Sprawl project with Peter Brötzmann, William Parker, Michael Wertmüller and Stephan Wittwer which appeared on Trost Records in 1997.
Following Gyatso there were to be two other significant releases bearing the 16-17 name. The first was a direct outgrowth of the collaborations with Kevin Martin: Human Distortion, released on Digital Hardcore Recordings in 1998, and Mechanophobia on Praxis (Praxis 31, 1999).
Mechanophobia presented two “Sound System Mixes”, dynamic, morphing tracks, produced by Alex Buess and Roger Graf, and featuring Daniel Buess on drums. Around the same time the two Buess started the Cortex project and would together reappear on Praxis with Vacuum Theory (Praxis 48) in 2011 and “Skin Craft” (Praxis 55) in 2016.
Unknown to the public there were a number of 16-17 recordings with the line-up Alex Buess/Damien Bennett/Michael Wertmüller from 1995 which had remained unfinished. Out fo these, with contributions of Eugene S. Robinson, Kasia Meow and Roger Graf, the album Phantom Limb was crafted in 2018/2019 and released on Trost in January 2020.
Out of these sessions came the raw material to The Pandemic Wargames Remixes which include the first track of the Phantom Limb album ‘The Hate Remains The Same’, as well as two more mixes,including the heavy dub version of ‘Nemesis’.

BUY The Pandemic Wargames Remixes on vinyl
BUY The Pandemic Wargames Remixes in digital formats
The Pandemic Wargames Remixes on Discogs
Alex Buess website
Alex Buess Discogs
Alex Buess Wikipedia [english][deutsch]

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Subscriptions to Datacide and Praxis Records

Over at Datacide we have simplified the subscription options. There is now one standard subscription and one super-subscription which includes all Praxis record releases as well as printed and digital datacides. Check it out:


Click on the above graphic to get directly to paypal and choose from the following options:

  • Buy single copy for EUR 6.00. Please state which issue and which address to send it to.
  • Standard Subscription for EUR 23.00. This new standard subscription includes four issues in print and digital. State which issue you want the subscription to start with and which address to send paper copies to.
  • Super Subscription for EUR 100.00. This subscription covers music and print! You are sent all issues of datacide, the almanac, related books, and all Praxis and related record releases for two years and at least up to the retail value of at least 120 euro (so if not enough releases come out, the subscription will automatically last longer), all including free shipping. Also includes catalog mail-outs, digital versions and exclusive downloads. Don’t forget to include shipping address!
  • Donate any amount. Any donations will receive the current issue in digital format. Donations of more than 23 euro automatically include a Standard Subscription. Consider making a recurring donation and receive all issues in digital format that come out in the given period.

Don’t have paypal? No problem! Either write to info (at) datacide-magazine (dot) com and we’ll supply you with the bank details, or go to the datacide/praxis section in the Praxis Online shop and order through there!

Using Brave browser? Donate BAT via Brave! Users of the Brave browser can donate BAT to Datacide!


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Disconnect Store re-opening!

Starting today, May 14, Praxis Records & Books @ Disconnect Store Berlin is reopening its doors to the public again after exactly two months of being closed as a result of the Corona pandemic. For the time being limitations apply: No more than two customers at a time. Disinfect your hands when you come in. Wear a mask! Visit us at Finowstr. 25, 10247 Berlin-Friedrichshain. Thurs-Sat 2-7pm!

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Shipping issues due to the Corona-crisis (We do ship!)


But due to the Coronavirus crisis there are a number of limitations:

– We currently only ship once a week, on Tuesday. For more details (and some exceptions) read below under (1)

– Postal services have implemented limitations on what can be sent to some countries. While shipping within Germany seems to work as usual, delays have to be expected in some European countries and severe limitations are in place for many overseas destinations. For more details see below under (2)


For the time being we only ship once a week, on Tuesday, to limit exposure to post office queues etc. 

If there is high volume, we might ship once more during the week, but generally it will be done every Tuesday afternoon. Exceptions are small orders, like single books or CDs which fit in a mailbox. These will be dispatched every 1-2 days.

All orders placed by Monday mid-afternoon will definitely be shipped on Tuesday, and most orders that come in by Tuesday morning as well. Note that our stocks are in two locations, the Disconnect Store and our storage unit. Storage can be accessed any time, while copies of records and books of which there is only one in the store will be collected Monday afternoon or evening. More stocks are being moved from the shop to storage to ensure better/faster service.

Our physical shop is closed for the time being and local pickup is currently not available, but we will be assessing the situation and try to accommodate anyone who wants to pick up their order in Berlin.


Generally the delivery services seem to work well, but there are exceptions. 

Within Germany packages sent with GLS as recently as the past week seemed to arrive within a day or two as usual. 

For international orders we shipped in the last couple of weeks we don’t have enough information. Delivery time may differ greatly depending on which area of the world and which country.

Many overseas destinations may well be incurring more than usual delays as air traffic is substantially reduced. 

In Europe there are some regional restrictions, especially in the east of France, But it seems that there are ways around it, although slower shipping than usual has to be expected.

If an order cannot be sent, we will contact you and you will have the choice between waiting for services to resume as normal or to receive a full refund.

Serious limitations are affecting orders placed from Australia, Canada, Japan and the USA (as well as other overseas countries) at the moment. UPDATE: Canada is now back to normal!

We currently cannot ship single or small quantities of records with the services we usually use (Deutsche Post Warensendung, or in some cases DHL Small Packet) to these destinations. 

In most cases, but not all, we can still send larger packages as DHL Priority Parcels. In theory we can also send smaller orders as Priority Parcels, but these are a lot more expensive than the usual Warensendung and we have to ask the customer to cover the extra cost.

We (still) hope that the normal services will resume within a reasonable time, so if you are in these countries or elsewhere where these or similar restrictions apply you can still buy records and we will send them at a later date, as soon as normal services resume. Please understand that when that will be the case is completely out of our control. You will also be given the option to cancel the order and receive a full refund.

Exception to these rules are normal letters as well as press products, meaning that we can still send copies of Datacide to Australia, Canada, Japan and the US (and most other countries with similar restrictions)!

We will update this post as soon as substantial changes are occurring.

For up to date changes, please refer to the page of the Deutsche Post web site


GLS has set up a similar page here (only for orders in Germany and some orders in the EU)


https://gls-group.eu/DE/media/downloads Aktuelle_Infos_Internationaler_Warenverkehr-2020-03-27.pdf

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