EA80 - Grüner Apfel 1995

Seventh album by the most important & best German Punk band from M'gladbach: EA80. Published as a double 10Inch with four varied sides that once again illustrate the diversity and creativity of the band's songwriting. The musical orgasm begins with five fast, loud pieces that express the anger and desperation of the four, played fascinatingly and very contagious. Followed by the typical long melancholy songs for that I love the band, peppered with spicy words and excellent moll melodies. At the end, a colossal fifteen minute symphony that makes clear to you that everything is fleeting and nothing lasts forever. "EA80 remain untouched by everything that happens in modern punk rock and do what they have always done. The result is the radical incorruptibility of one's own aesthetic universe, which is completely beyond the influence of the wrong and the stupid." Grüner Apfel is a dark monumental masterpiece and fits seamlessly into the band's biography as another jewel.

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SPLIFF - Herzlichen Glückwunsch! 1982

Okay folks; Monday evening and surprisingly it has been quite a pleasant day to date... that was not always so, but who fucking cares? - After the success of the album 85555 in early 1982, Spliff followed suit with their third album at the end of the same year. Commercially this was not quite as successful as its predecessor, but Herzlichen Glückwunsch! is still a solid classic nowadays. With "Das Blech" and the title track, two singles went to the crowd in advance, and musically both shot little splashes of dancing pleasure around the mob. The band presents a sound that has little in common with that of the debut. Not least thanks to Reinhold Heil, who pursues his weakness for strange keyboard sounds, and Herwig's electronic drum pads, Spliff is the perfect symbiosis of rock & electronic musicians.

A review: "Released the same year as their smash hit 85555, Spliff's third album Herzlichen Glückwunsch! doesn't feature anything approximating their immensely catchy ironic pop single "Carbonara," but it continues their fusion of rock & electronics and manages to stay interesting throughout its running time. The main forces within the band are still drummer Herwig's rock-based songwriting, the booming sound of his Simmons drums, and his punk-influenced singing voice on one end of the spectrum, and Reinhold Heil's keyboard textures, his laconic, almost rap-like vocals, and his electronic-oriented songs on the other. The group managed to score another hit with the single "Das Blech" (as in "Da Fliegt Dir Ja Das Blech Weg," a colloquialism which could be roughly translated as "This Blows Your Mind"), a coolly arranged synth funk number for the dancefloor, with an electronic percussion solo in the middle. Elsewhere on the album, there's Mitteregger's energetic title track with an almost atonal bridge, a dreamy funk song written and sung by bassist Manfred Praeker ("Tag Für Tag"/"Day By Day"), and the Kraftwerk-ian "Herr Kennedy", with vocals by all four group members. Even though Heil's contributions are more diverse and interesting, the album's best tracks are written by Mitteregger: the frantic "Wohin? Wohin?" ("Where To? Where To?"), a fast-paced rock number about smuggling in Algeria, and the epic album closer "Glaspalast" ("Glass Palace"), which keeps building its intensity from its slow, moody beginning. While nothing on Herzlichen Glückwunsch! is absolutely essential, the album is an interesting clash of styles that rewards repeated listening." [Christian Genzel]

The third album is the band's last usable release. After that, the fucking commerce grabbed them by the balls and 1985 they finally split up due to musical differences and various solo projects.

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Q4U - Q1 1982

Today on a visit to the far north of Europe and we meet an amazingly versatile band that only made a mini-album in the early eighties but meanwhile there are some CD re-releases out and read the following information about the artists: Q4U are one of the great survivors of Icelandic music and was founded winter of 1980-1981 in Reykjavík, inspired by the British punk movement. It’s original members were Elínborg (Ellý) Halldórsdóttir (vocals), Berglind (Linda) Garðarsdóttir (vocals), Steinþór Stefánsson (guitar), Gunnþór Sigurðsson (bass), Helgi (drums) and Már (synthesizer). Helgi and Már soon left the band & Helgi was replaced by Kormákur (Kommi) Geirharðsson on drums. By early 1982 they self-released a full length cassette, “Skaf Í Dag” and appeared in the documentary Rokk í Reykjavík, which showcased the Icelandic punk scene. This version of the band ended and only two members continued on. In the summer of 1982 Ellý and Gunnþór recruited Óðinn Guðbrandsson (guitar) and Árni Daníel (synthesizer) from the band Taugadeildin. Their drummer was replaced by a Roland TR-808 drum machine they named “Elísabet II”. signaling a change in the group’s sound toward synthesizer-driven post punk. In August 1983 they reinstated Kormákur to record a final set of demos and then called it quits.

Q4U began with a stylish, aggressive Punk image before experimenting with drum machines and synthesizers, which almost nobody did in Reykjavík at the time. The later sound had gothic leanings,often compared with Siouxsie & The Banshees and X-Mal Deutschland. Their body of work is united by the powerful vocals of Ellý, who mostly sings in Icelandic about controversial, political experiences, much like Ari Up of The Slits.

In 1984-1985 the group Þetta er bara Kraftwerk (ÞEYR) continued working on similar post-punk synth music Q4U as had been working with. Ellý and Árni Daníel teamed up with Árni Daníel's little brother Ingólfur and later Óskar Þórisson joined. This group recorded a few songs as demos, but did not publish anything in its lifetime. Everybody started having families, studying or working. Then in 1996 the group came together again, under the influence of the grunge movement and the interest in punk and post-punk that blossomed at the time. Now it was decided to put together a CD with some of the unreleased material of the group and publish it. This CD, Q2, contained much of the unreleased demos from 1982, a demo from late 1982 with the synth version of the group, the EP from 1983 and the demos from August 1983. There was also one song by ÞEYR on the CD. It was published in 1997 under the name Q2. Q4U followed the publication of the CD up with a number of concerts in 1996-1998 and also with television performances, of which some are available on the YouTube. One of these is with the song Egó, which is otherwise unpublished. The line-up was Gunnþór, Ellý, Árni Daníel, Ingólfur from ÞEYR and a new drummer, Guðmundur Gunnarsson.

The group is currently rehearsing again after another thirteen years abscence, with two gigs already having taken place in 2010. (source: DarkEntriesRecords)

Consistently awesome stuff and interesting for everyone!

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ANGELIC UPSTARTS - We Gotta Get Out Of This Place 1980

Before I dedicate myself to digitizing, I will open this long musical Saturday with a classic and the Angelic Upstarts made an impression with their debut album and the second ties in seamlessly with it. Twelve brilliant of Fist-In-The-Air anthems have the four, Mensi (vocals), Mond (guitars), Steve (bass), Stix (drums), once again written and with the help of some guests recorded. Read this suitable review which I couldn't write better. I would only say; Music that has inspired me since the beginning of my Punk days and always keeps me positive, even with all the shit that goes on in the world and surrounds me and especially live, they are fantastical! Take the chance if they are in your city. The band has reformed and split up a few times over the years, but they're still active and the current line-up since 2020 consists of Mensi, Mick (guitars), John (bass) and Andy on drums. Like no other, the Upstairs combine anti-fascist and socialist workers' philosophy with the punk & skinhead subculture and are always an excellent choice! Find more stuff in the blog, I re-upped them all. TOP!!!

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V/A - Powerpearls Vol.1 1998

🎸 In spring, I wowed you (and me) with another great collector series that some detectives created in the late 90s and this beauty focuses on PowerPop rather than Punk though a few goodies featured wouldn't be out of place on a Punk compilation; We're talking about the Powerpearls Explosion and each Volume has a healthy serving of the best from this genre (those were Hans Knut Hohlhand's words, an avowed four chord lover whose inspiration brought many hermits together to form great bands). Decent selection for the first part in my opinion and the eighteen time travelers shoot you into the weekend, and I'm sure that even the annoying corona virus will shrink back on this foamy wave and shut up for a while. 🎸

1.Everyday, Everyway - REALLY 3RD'S

2.One Out All Out - STRAIGHT UP

3.Feel The Pain - THE BUREAUCRATS

4.Language School - TOURS

5.Modern Time - THE GENTS

6.One Last Night - THE ATLANTICS

7.Nora's Diary - JIMMY EDWARDS

8.That Girl - TECHTONES

9.Who's Kissing You - FAMOUS PLAYERS

10.Fashion - TWEED

11.It Doesn't Bother Me - THE DISTRACTIONS

12.Playing With Fire - TV 21

13.The Kids Are Dancing - THE NEWS

14.It's Your Birthday - FASTBACKS

15.Susan's Day - THE ROUSERS

16.No Fear - THE SQUARES

17.Liberty - SMALL WORLD

18.Blast The Pop! - LOCAL HEROES

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FLATSCH! - Endlich Live! 1989

Today I greet all Hessian friends with one of my favorite Stöffche of the Eighties: Flatsch! Their first four albums are all classics and even after forty years it's still a pleasure for me to listen to and they manage to put a mischievous smile on my face. In 1988 the band decided to say goodbye at the climax and their last concert took place in the sold out Offenbacher Stadthalle (a few songs from this gig were used for this record). 2003 they were guests at the silver wedding of the Monotones on two evenings in a row, together with the also re-animated bands Hob Goblin and the Crackers, this was the last performance of Flatsch! On stage the funny stories about nuclear-free power plants, fat dictators, sisterhoods or confuse Kaufhaus hysteria unfold their very special effect. A brilliant mix of rock & comedy but I think, more old songs would made this album even better because they are much faster, rockier and funnier. - “We feed our Bundestag with liquid egg and cream curd. We paralyze our heart and circulation so that we can laugh. We increase the diets and cancel the diet and feed them with ham bread until nothing more is possible. We need fat dictators, nice fat men who can be blow up" - In this sense, a cold Schoppe and three points for all Eintrachters tonight. Prost!

Austrinke/Rummenigge/Messegäste/Schwester/Keske Fü Fä/Dicke Diktatoren/Katastrophenmelder-Sketch/Wir Tun Es Immer Wieder/Computerbruder/Süssmuth-Sketch/Schützt Die Kondome/Hallo Frollein/Kaufhaus/Alkoholfreies Bier/Badekapp/Männer Müssen Männer Sein/Gute Alte Zeit

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OBERKAMPF - P.L.C. 1983

Debut album by Oberkampf and given the group's influence on the local scene, the release was significant and the sound conceived in this way was vehemently continued as on their first Couleurs Sur Paris (1981). Also, Kebra and his cronies, including Joe Hell, have a good taste not to stick to simple Punkrock, they go straight ahead. “Wild” choirs, unbridled but controlled instrumentation, rhythmic which scrapes without deviating; Oberkampf has real strengths. The texts, moreover, could still, even in our time, give new food for thought. The impact is therefore only greater, they have verve. Their sound is jerky and experimental with sound effects, almost post-punk, maybe a bit cold too, and they finished the job (back then it was a struggle to get a record out, but the band didn't want to stop at anyone or anything), and that with amazing consistency. Solid record with ten songs plus a rather uninteresting Gainsbourg cover.

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SEX PISTOLS - No Future UK? 1989

Great compilation of demo sessions taped by the Sex Pistols in July 1976 - January 1977 and give a fantastic insight into the original line-up's rough sound. The majority of the tracks first appeared on the now infamous Spunk bootleg, released a few weeks prior to the bands only album, Never Mind The Bollocks. The songs are recorded surprisingly well and I like every single one. It's really a shame that the Pistols broke up in 1978, we all know the reasons, but with their refreshing provocative attitude they caused a sensation and stay unchallenged in the Punk olympus and this record is a perfect example. I am grateful that they were there!

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DIE TANZENDEN HERZEN - Tanzfläche 7'' 1988

Debut 7Inch from Die Tanzenden Herzen, a PowerPop trio which celebrated powerful and harmonious pieces. At the end of the Eighties the three were able to inspire not only beat-oriented audiences at many concerts in German-speaking countries and especially in their hometown of Berlin. The band was founded 1987 in Berlin by Klaus Mertens (vocals/guitar), Frank Bongers (bass/vocals) and Andreas Albrecht (drums/keyboard) as The Saturday Boys (the members had already played in numerous other bands and thus gained live and studio experience) and released a tape under this name in 1986 via the young Smarten-Up! label. Tanzfläche was recorded in January 1988 and the flip was played for the first time with wind instruments, Frank (sax). They liked it very well that it was decided to re-record the titeltrack that had already been recorded and to reinforce it with the use of wind instruments. So the release was delayed a bit, but for a summer hit in 1988 it was definitely enough.

Die Tanzenden Herzen convince with polyphonic singing, catchy guitar work, soulful harmonies, which are overlaid by powerful rhythms. Not to forget the sax & co., who give the pieces the right groove. The band plays its way into your hearts with a love to pop - directly! Two more albums followed before calling it a day in 1993.

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FALCO - Jeanny 7'' 1985

Another artist of the New German Wave was Falco from Vienna, who conquered the world with his Kommissar at the beginning of the Eighties, and was one of the most successful interpreters of this pop culture. In contrast to many other musicians, he was able to establish himself consistently with his music. After a short low phase he could build on old successes with his album Nachtflug at the beginning of the Nineties again. A bit backgound: Jeanny is the title of a series of songs, the first part of which sparked one of the greatest scandals in the history of German-language pop music. When Jeanny was published, there were allegations that the title played down or glorified rape, although the text didn't explicitly mention violence. However, it shows the perspective a rapist might have on his victim. The way in which the text is presented also allows the conclusion that it is a matter of a stalker who kidnaps his victim because of spurned love and kills him in his madness. The Newsflash part of the song reports a "dramatic increase in the number of missing people" and "another tragic case" of a nineteen year old girl who had been missing for fourteen days, where the police can't rule out the possibility of a crime.

Well, such views are typical of some moral apostle who only scratch the surface and cannot look deeper. Some radio stations fell for it and boycotted the song "for ethical reasons", absolutely ridiculous. Falco himself said in 1986: “Jeanny is alive, that is clear from the text and the video. Part II of Jeanny will prove in the fall that the man is the real victim. It's not for nothing that he ends up in the loony bin at the end, completely knocked out by Jeanny."

I say, a brilliant love song of a different kind with a lot of passion, obsession and still a classic! - On February 6, 1998, Falco died in a car accident on the road between the towns of Villa Montellano and Puerto Plata in the Dominican Republic. R.I.P.

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