German Shepherds ‎– Music For Sick Queers



Communist Control 5:21
Armageddon Man 2:57
Love Me 3:12
Preacher 2:47
Hitler's Child 3:34
I Adore You 3:56
Mr. Tupper 3:05
THC 4:07
Quit It 3:24
Complacent American 5:02

Versions (5)

Cat# Artist Title (Format) Label Cat# Country Year
DA-3001 German Shepherds Music For Sick Queers(LP, Album, Bla) M&S Music DA-3001 US 1985 Sell This Version
none German Shepherds Music For Sick Queers(LP) Del Amo Records none US 1985 Sell This Version
DA-3001 German Shepherds Music For Sick Queers(LP, Album, Red) M&S Music DA-3001 US 1985 Sell This Version
SV008 German Shepherds Music For Sick Queers(LP, Album, RE + 7") Superior Viaduct SV008 US 2012 Sell This Version
SV008 German Shepherds Music For Sick Queers(LP, Album, RE + 7" + Cass, Dol + Comp, Del) Superior Viaduct SV008 US 2012 Sell This Version


Reviews Show All 2 Reviews

Add Review



May 21, 2012
referencing Music For Sick Queers, LP, Album, Bla, DA-3001
Despite the title, this is a rather enthralling album, full of interesting sounds, structures and compositions.
Side one begins with “Communist Control” which begins like conversation between extra-terrestrial flying insects, lots of fly-like buzzing through which discernable lyrics are heard. It may not be music as such, but it’s effective. All sounds are echoed backwards and forwards in a confused melee of sonic confusion. “Armageddon Man” has a strong electric guitar pattern across which grating synths scratch, wobble and shriek. It’s a cynical song about the “God-is-on-our-side-and-hates-the-Ruskies” attitude of certain lunatic factions who hold positions of power. "Love Me” is a slow thing based around gradually moving keyboards which have a strange, ‘B’ movie sound to them, distorting reality with a certain element of dread. “Preacher” comes next, the vocalist orating over a sustaining sweep of deep vocals - it’s an invocation if ever there was one, a dark ceremony over which is shouted so absurd words. “Hitler’s Child” again has a certain ‘B’ movie sound to it - the synths just a little too grating, a little too distorted - while the vocalist sings his dark words in a deliberately flat voice over the top.

“I Adore You” begins the ‘B‘ side with a pulsing rhythm under which huge grim mass of synth noise dwells. Over the top of this the vocalist talks his way through a short poem, putting a lot into it - riding the warm black waves of electronics. "Mr. Tupper” follows this with a mass of confused vocals over which electronic flies swarm and madmen laugh uncontrollably. “THC” comes next - a mess mass of electronic noise which almost — but not quite - forms a rhythm. Over the top of this the vocalist tells us how Psychedelic music can let Satan enter your soul and how he murdered his parents. “Quit It” follows a similar anti-rhythm with a druggy, soporific, dragging sound which seems to run icy fingers of depression over your soul, gouging out your will to live and casting it upon the black dead ground. "Complacent American" finishes off the album on a drifting mass of sound which hangs like a half-uttered threat in the air. It’s a sustained bank of mid-pitched feedback while the vocalist talks of Armageddon and his lack of preparation for The End. It’s the most effective track on the entire album, with the feel of impending doom as the wall of screaming sound slowly rises in pitch to it’s climax.

An interesting debut album which shows a willingness to experiment and a decent attitude to noise composition. Subtle they are not, choosing instead to lay their cards face-up on the table, saying ‘there you are, We are the GERMAN SHEPHERDS, like it or not, we're cynical and have axes to grind. Watch out, we’re coming at you!’

Originally reviewed for Soft Watch.


September 2, 2008
referencing Music For Sick Queers, LP, Album, Bla, DA-3001

I have a bias towards this record because my good friend Steve Sheatzle gave it to me. He was, of course, half of the duo that made up The German Shepherds.

That said, I always felt they stood apart and approached their music in a unique way that is simultaneously comic and frightening. Almost always spoken rather than sung, The GS's addressed their fears so convincingly over-the-top that one has to laugh to avoid shrinking in a corner in a fetal position in absolute horror.

Make no mistake, this record is against what it pretends to endorse; homophobia, pedophilia, religious hysteria, homocide, and so on. The GSs take aim from inside, not outside, the enemy camp, in the best diguise they could muster; one of them. They expect the listener to be brave enough to follow them, or they'll find themselves part of the joke.

It's a great record of the ultimate art paradox; It's an ugly world, and The German Shepherds made it more beautiful by making it more ugly.