Tracklist Hide Credits
- Remastered At – GS Mastering & Post
- Backing Vocals – Nina Hagen (tracks: C1 to C7)
- Bass – Edgar Domin (tracks: C1 to C7), Frank Osterland (tracks: C1 to C7)
- Composed By – Karl Von Hörsten (tracks: J1 to J6), Tina Velte* (tracks: J1 to J6)
- Drums – Liane* (tracks: C1 to C7)
- Guitar – Alexander Hacke (tracks: C1 to C7)
- Lyrics By – Volker Hauptvogel (tracks: C1 to C7)
- Performer – Eschi Rehm (tracks: K1 to L5), Exo Neutrino (tracks: F1 to F8), Mabel Aschenneller (tracks: K1 to L5)
- Producer – Joachim Reinbold (tracks: J1 to J6)
- Programmed By [Drums] – Prinz Eisenhart (tracks: G1 to G8)
- Remastered By – Anders Peterson
- Technician – Angelo Plate (tracks: C1 to C7)
- Vocals – Krischi (2) (tracks: G1 to G8), Volker Hauptvogel (tracks: C1 to C7)
The track "Stammheim" by Didaktische Einheit (I4) is listed on the sleeve but is actually missing on the record.
Side A | PVC Session 1 | 05./06.05.1978
In spring 1978 the necessity of a record release got more and more urgent. The situation couldn’t get more ludicrous. On the one hand we constantly had full houses. On the other hand there was nothing that fans could take home with, except the memory of the last concert. To put an end to that misery, Franz Antesberger – operator of the first punk shop “Punkhouse” to date – declared himself ready to comply with funding an intake-session. Proposed was the production of four songs – Wall City Rock, Rockin’ Till the Wall Breaks Down, Berlin By Night, Lost in Ulan Bator – for two singles. For this purpose, we gathered in Bel Ami’s practice room, a hardrockband from Berlin, on June 5th, 1978. Jimmi Voxx, band’s guitarist, assumed the producer’s role. He already had his first experiences several weeks ago, at the production of a demo tape from the Dirty needs, Berlin’s second punkrockband. Jimmi insisted on us using Bel Ami’s guitars, because according to him ours wouldn’t suffice. Instead of concentrating on our four agreed songs we incurred into intake frenzy. On June 6th about 5 AM the session ended after recording twelve songs. Because our rush of adrenaline didn’t want to stop, the mixing happened ongoing. A few days later, while listening to the tapes, there was no expected joy. From the songs that were destined for releasing only Berlin By Night and Wall City Rock were adjudged as suitable. Rockin’ Till the Wall Breaks Down really sounded like crap. Lost In Ulan Bator failed because of the using of a flanger on the rhythm guitar. Instead of using two other succeeded songs we abandoned the release, stubborn and turned off. But the session wasn’t for nothing – many tapes were played on radio interviews.
Songs from the session :
Already released : Berlin By Night | Decide | Sick Of You (All included on double album PVC 77-79) | Step Out (Rottentotten RIR 14/15) | Wanking All Night Trought | Eva Braun Is Back In Town
On this disc : No Escape (Jimi Voxx/Knut Schaller/Thorsten v.Thörne/Raymond S.Gomorrah Verlag Francis, Day &Hunter) | Spotlight Kid (Knut Schaller /Raymond Ebert)
Unpublished : Lost In Ulan Bator | Rockin’Till The Wall Breaks Down | Punkidiots | Wall City Rock
Session 2 | 05./06.08. + 16.09.1978
We restarted working august ‘78. Again in Bel Ami’s practice room. Again with Jimmi Voxx as producer. This time it should directly be an LP to placate the exhausted patience of our fans. After recording the first 14 backtracks we had to have a break, inevitably, because of the SO36 opening. September 16th we added the voicings and the guitars. But, after the first four songs - Ice Cold Eyes, Future Kids, Without You, In Your Face – were mixed, the bearer of a 4 soundtrack-device - Jesse Ballard, an US songbard living in Berlin, demanded his device for own purposes. That was it – the disaster beyond all expectations. Anyway we didn’t know anyone with a device like this. Only just October 3rd ’80, after our setting had already changed, there was an available facility for a fast roughmix.
Songs of the session :
Already released : So Much Older | Me Myself And I (All included on PVC 77-79) | I Wish I Could Die (Rottentotten RIR 14/15) | Future Kids
On this disc : Wall City Rock (Schaller/Meijer/Ebert/Dobroszcsyk ,Verlag Edition Optimal)Ice Could Eyes (Gerrit Meijer, Hot Music Verlag) | Concrete Jungle (Knut Schaller) | Without You (Gerrit Meijer) | I’m Alive (Knut Schaller) | Deathline (Knut Schaller/Raymond Ebert) | Punkidiots (Raymond Ebert) | In Your Face (Gerrit Meijer) | Rockin’Till The Wall Breaks Down (Gerrit Meijer)
SIDE B | WHITE RUSSIA Session 1 | 23.02.1980
That session emerged without our assistance, like the virgin her child. Stefan Stark, a friend of Uwe Hoffmann, could delight Michael Zimmerling – boom operator in the HANSA studios – for White Russia. Zimmerling had anyway helped with the production of David Bowles Heroes. February 23 ’80 he invited White Russia for a demo tape in the studios. Unacknowledged – therefore illegal – we recorded eight songs. Bass, guitar, drums and everything in one go, the voicings afterwards. After three hours including the mixings it was off the cards.
Recorded Songs : Victim (White Russia/Watkins, Verlag: Centerton) | North Sibirian Madness (White Russia/Watkins, Verlag: Centerton) | Well Do You (Gerrit Meijer, Verlag: Hot Music) | Three Crosses In The Sunshine (Gerrit Meijer) | Emotions Had Slipped (White Russia/Watkins, Zorro Musikverlag) | That’s Allright By Me (Gerrit Meijer, Verlag: Hot Music) | Lost In Ulan Bator (White Russia/Watkins, Verlag: Centerton) | Da Da Competition (White Russia/Watkins, Zorro Musikverlag)
Session 2 | 28./29.04.1980
In April the same procedure occurred, illegal again – so for free – with changed conditions. Zimmi wanted to produce four songs “correct” this time. While having the focus on a livecharacter in our first session, we now tried to pull out all the stops. For example in That’s Alright By Me a 12-stringed Rickenbaker, that made us crazy because she has permanently been untuned, was called into action. In the instrumental break in Emotions – Hard Slipped, it absolutely had to be two guitarsolos coincident. Zimmi felt like he had done an extra great job in his selfmade intro of North Sibirian Madness in AC/DC style. We didn’t really like this masterstroke. Later, for the LP version, we cosigned this flop. Despite of or even because of an overproduction Zimmerling won the next Alphaville producer Bernd Ramin and a shady guy named “Mr. Witowski” for White Russia. That guy also got the surcharge. In Sommer 1980 we produced the first White Russia LP under his sponsorship – Eastside story. Recorded Songs : Emotions- Had Slipped (White Russia/Watkins, Zorro Musikverlag) | Well Do You (Gerrit Meijer, Verlag: Hot Music) | That’s Alright By Me (Gerrit Meijer, Verlag: Hot Music) | North Sibirian Madness (White Russia/Watkins Verlag:Centerton
Side A | MDK
Edgar Domi and Volker Hauptvogel get mail and found Mekanik Destrüktiw Komandöh. : The parcel from London was brimful of 7” and 12” Inch-Singles and dyed vinyl, and there were various longplayer expired with 45 turns to it.
After unpacking, surveying the cover, absorbing the smell - a vital mix of ink and vinyl, studying careful secret information on the disc and folding out the Tohrens-phonographer’s black cap, after putting the silver tap on the disc, sounded the first auspicious crackles and snaps.
Now there went an outrageous energy out of the disc through the Shure-pick-up-system through the wiring into the Bose-loudspeakers. It invaded directly in our brains to destroy our backbones in a millisecond, from which feeling we soared immediately like a phoenix out of ash, refined and with 1000 new experiences! That was better than any drug, even better than sex! There she was, the revelation, a historical moment, music was contrived new! Time was abolished and in the energy of a short song there were birth and death and every philosophy book on earth at once, it burned and blustered through our guts. The moment when you fire a bomb, when the cannonball leaves the gun, there it was! That was revolutionary! All sensors went to high performance! The whole body insisted of nervous creeps, whose pores were open like gates. That beastly had everything to do with pure heaven and hell. The instrumental pounding joined in, the energy flow compressed with unexpected highs and lows and went into our souls and our cocks and nuts shrinked to antimatter. The texts were light and thunder and landslide, vociferated and complaining, disgusted and demanding, they were battle songs with wispy nuances, whose text scraps fixed immediately in our brains. As never heard before, it was a roller coaster ride with rocket propulsion that made addicted straightaway. This music will change the world! This would have consequences! It was a clear message. You have to cut your hair, away with antiquated traditions. Mao was right. Ready to lay the world in ashes, they stroke out. Ready to set themselves on fire as herald of the truth, that the new time has finally begun.
- - extract from Volker Hauptvogel’s “Fleischer”, Berlin 2011 -
The founders Volker Hauptvogel and Edgar Domin were members of the Kreuzberger “Front-Theatre” and worked on various productions with (meanwhile deceased) Olaf Wried (Ades Zabel). They stopped pure theatrework when punk-music begun. In early summer 1977 they founded “Vollgas”, the first motorbike-punkband. Hallmarks for them were Leather, fast and especially loud motorbikes, with which they drove through the crowd on the stage, mostly with naked, armed women as pilot or co-driver. “Vollgas” came apart very fast.
Mekanik Destrüktiw Komandöh wasn’t founded, it was born. Communication was their main heading, including countless live-performances, fliers, fanzines, films, videos, cassettes, books and discs. The archive is unfortunately scattered all over the world. One long-term goal was working with physical discernible sounds and frequencies. With their slogan “Spass muss sein” they permanently toured through Europe, till the US tour 1983, in few changing lineup. They were gentled as only legitimate successor of “Ton Steine Scherben”.
Musically MDK catered for monumental sound thunderstorms and a very condensed sound that didn’t give you much time to breath in classic lineup. The combination of fun, politic and music in their performances always made full houses and tumultuous scenes.
*Volker Hauptvogel: vocals, metallophone, tonewood, all texts, car, phone, artwork
*Stefan Schwietzke: saxophone, tenor, alt, big grin
*Edgar Domin: earth- and heavenbass, ÜZ
*Uli Radtke: drums, oil change, liver sausage
*Alexander Hacke: guitar, korg-synthie, drum-synthie
*Geore Hampton: lead guitar, tuner
*Liane: drummer, rocker’s girl
*Riff La Roche: female part, multi-talent
*Carsten Brucker: heavy guitar, cigar, checkered jacket
*Gert Rudschuck: rhythm guitar
*Angelo Plate: technique, vibrations
*Frank Osterland: fratless heavenbass, technique
*Schnaffte: auxiliary saxophone, support sock
*Nina Hagen: temporary background Vocals
*Ton Steine Scherben: spine
*Axel Treubrodt: fast drummer, could give the count!!!!!!
Studiorecords in MusicLab, Harris Jones, Kreuzberg
Hometown: Berlin. Berlin-West, West-Berlin, Westberlin. Berlin.
What are they doing today?
*Stephan Schwietzke has scads of kids and gives music lessons in Baden.
*Edgar Domin tinkers hardworking on his monumental work.
*Uli Radtke was buried punctual to total solar eclipse.
*Volker Hauptvogel is hauptvogeling.
*The rest is on google… or maybe not.
Side B | DIN A TESTBILD
DIN A TESTBILD, unpublished recordings to date from the early west/Berliner kellertagen 1978/79 (Rock N Roll Circuit, Horseman, Revolution), a live recording (Simmer of the Bourgeoisie) from Flöz May 7th 1980 and one studio recourding from the first DIN A TESTBILD album Programm 1 (She’s so nice), also from 1980. DIN A TESTBILD always stood for independent music that didn’t emulate the English punk one to one but created the special west/berlin sound (digital punk) and inspired other bands with it. From the early years and in its present form here till the last DAT album Programm 6 with the title “New Berlin” not only the sound changed but rather the city Berlin. At least the music of DAT will always rest a reflection of the berlin underground, the berlin electroexperimental musicavantgarde and a declaration of love to a Berlin that constantly invents itself new.
Special thanks to Bo and everyone who supported the project DAT for many years.
Side A | POISON DWARFS
The Poison Dwarfs in their ancient lineup as duo (Westerfeld/Castrup) were founded with the thought of creating, producing and publishing electric instrumental-music with the simplest devices on cassette. That plan has directly been implemented – when the first 10 minutes material was finished, the first cassette was brought on the market. Similar spontaneous but crucial more structured followed the second – “Angst und Ekstase”. The third – “Wechselbad” documented the step to a trio with voices that parallel shrunk to a duo with new but steady lineup (Dlubatz/Castrup). The working principles always stayed similar. Long improvisations in more or less stylistic freedom were recorded, cut and equipped with overdubs. There was played over a small guitar amp that was stereo microphoned or directly to the tape. The recordings were made with 2-channel stereo-tapes, overdub were made with cassette recorders or with trackbouncing in tape recorder. There was no mixer console or EQs! The cassettes were individual duplicated with one master cassette. Minimalism at all levels so to say.
Side B | FUNTASTIKLONS
Worth knowing about Dangerous and other Clones
Dangerous Clones were founded in the late 1980 when Exo Neutrino and Uwe Linke, two men excited of New Wave and American Residents from Mittelhessen, came back from a visit at the Soundpioneers “Der Plan” in Düsseldorf. Inspired of the quirky Sound- and Image-phantasies and determined implementing the plan of the Residents principle “Geri Reig” (=doing the most with the least) – Der Plan also rendered homage in the title of his first LP 1980 – they betook themselves to the “Reise durch a Sunday Afternoon” (title of the first tapes, 20 pieces were produced), mounted with a tape-deck and a hamper full with toy instruments.
Following another idea of the American role models, the artist reaches the biggest clarity with staying anonymous, the Dangerous Clones gained new identities for every new project. Little Clones, MicroClones, PsyClone, FunTasti – or Different Clones – they always subordinated their artistic egos under the respective idea and deprived themselves skillful from the absorption of an uncomprehending mainstream audience that instead rather faced to Markus, Nena, Hubert Kah and other decals of the formerly actual new German Wave.
The cassette label „WirWollenNurDeinBestesBänder“ was founded by Exo Neutrino and Uwe Linke in the early 1980s to customize the duo’s music to interested parties. Besides the debut “Reise…” and “Musik für 2 Ohren” there appeared the tapes “Urrh? – The Kinderkram Tapes“ (1982), „Auf der Suche nach dem 6. Quark“ (1983) und „Delikate Delikte“ (1983) under the already mentioned pseudonyms.
Die FunTastiClones, an offshoot from the Dangerous Clones, carried 1984 with “Musik für 2 Ohren” the principle of minimalism by Geri Reig to extremes. As it were origins from the previous, one player (Exo) played on a small toy-keyboard, which was “pimped” with only a delay unit, and an old guitar amplifier. Applying extreme sound settings emerged the basic-tracks that were recorded on a stereo-spur of a cassette. After that the other clone recorded the second spur on cassette.
„WirWollenNurDeinBestesBänder“ at that time advertised with following words for that tape : “a tiny keyboard and rude effects show that good ideas don’t need gigantic sounds! Eleven potential hit-melodies in 2-ear-stereo! An ideal travelling companion – at best with headphones!” and ME/Sounds recognized : “unrestrained creative abuse of toys and cheapest effects! Brilliant!
Exo Neutrino also published the LP „PoisoNoise“ (recently republished on High Roller Records with additional material) as singer of Bad Hersfelders hardrock band “The Hand of Doom” in1979 and – in collaboration with Tom Dokoupil – the vinyl EP “Lustige Mutanten – UnPop” in 1981. Other tapes by or with Exo on „WirWollenNurDeinBestesBänder“ were : „Erster Größenwahn – Abfälle 1971 – 1981“, „Lustige Mutanten – Gute Fetzen“ (1982), „Heimatklänge fremder Planeten“ (1986), „Das Spielzeug“ (1987) u.a.m. Uwe Linke published as “Markenzeichen XY“ his first solo tape in 1983 (“Da kommt die Braut”) on “BestesBänder”.
FunTastiClones are :
Exo Neutrino (alias Ludger Rößner): toykeyboard „Yamaha PS-300“, tapedeck, delay unit, old guitar amplifier.
Side A | DIE WERKPILOTEN
Young men lost in a careless environment.
Die Werkpiloten – they are Christian Aufderstroth alias Krischi (Vocals) and Stefan Caesar alias Prinz Eisenhart (Programming). The duo was active from 1981 till 1986, published 4 cassettes including a compilation on their label “Werkpilot Industrial Releases” and after that a gladly heard guest on various samplers.
It’s music that, except guitar and bass, mainly has electric origins, that flows, sways and encourages to dream. It should kidnap the listener out of his everyday life in another, wonderful world. Music for films that is played while driving around with the car or daydreams. Constantly changing between introverted soundtracks and elaborated electro tracks. A complex and multifarious “Industrial Pop”, inspired of a emotional-melancholic attitude whose inspiration has its origins in Manchester an the factory-label of Section 25 and Joy Division. That is not surprising if you know were those two test pilots grew up. They come from the Ruhrgebiet, characterized by coal industry, working-class environment, tristesse and illusions that were bounded to there area of life.
“It is a logical thought that the heavy, loud and mean machine steals the people’s heart. So it is of value that there are people whose eyes weren’t timley kept shut. Factories and machines certainly didn’t have the intention to encourage our phantasy or to have positive influences to us. But at a time when machine coldness already entered into many souls and people begin to leave their production facility as meaningless monuments, rooms for phantasy get free that let us feel the pain and the desire, with pictures or music, at the end of our industrial period.”
Creating something under one’s own steam, letting phantasy get reality and comparing this with others was the Werkpilot’s desire. Round about 25 years after the resolution of Werkpiloten they should get some recognition for their work. The tracks on this compilation are unpublished in this form and originate from 1981 till 1985. An entire retro perspective of the Werkpiloten as 3LP-box is planned in spring 2012.
Pictures - are a reflected image now, Music - probably the last human beat, Performed - by some confused hearts.
Side B | NO MORE
NO PROMISES | C60 - Audiotape | 1980 | Too Late Records
FRENCH KISSES | C20 - Audiotape | 1981 | Too Late Records
LUSTOBJEKTE-SAMPLER | C60 - Audiotape | 1981 | Lustobjekte
The cassettes were produced for own requirements. While the NO PROMISES cassette reflects the stylemix from the beginning, sound and songs on the other two tapes are already on their way to the sound of NO MORE in minimalism phase. The recording of “Suicide Commando” is the first recording of the song. The NO MORE recordings for the Lustobjekte-sampler (a temporary merger of some Bands from Kiel) emerged in a recording session on july 25th 1981. Under the name of BLOOD AND FLOWERS we have recorded a row of pure electronic sketches, except for the voices for the Lustobjekte-sampler.
01. CURFEW (French Kisses Tape) | 02. LOVE & CRY (French Kisses Tape) | 03. FOG (Lustobjekte-Sampler) | 04. DAYS OF MERCY (Lustobjekte-Sampler) | 05. SUICIDE COMMANDO (No Promises Tape) | 06. NOTHING EVER CHANGES (No Promises Tape) | 07. HYPNOTIZED (French Kisses) | 08. BLOOD AND FLOWERS I (Lustobjekte-Sampler) | 09. BLOOD AND FLOWERS II (Lustobjekte-Sampler) | 10. BLOOD AND FLOWERS IV (Lustobjekte-Sampler) | 11. BLOOD AND FLOWERS V (Lustobjekte-Sampler) 12. BLOOD AND FLOWERS VI (Lustobjekte-Sampler) | 13. BLOOD AND FLOWERS VII (Lustobjekte-Sampler) | 14. BLOOD AND FLOWERS IX (Lustobjekte-Sampler)
Side A | DIDAKTISCHE EINHEIT didaktische einheit 1980—1984
Founded not as band, founded as rhizome, as underground being that develops its excesses in every conceivable direction +++ how can they use the stage for the whole wide deconditioning +++ how the forces call +++ conscious force of earth +++ against partition boredom and inwardness +++ ecstatic sallies of foreign tribes +++ performances only are one piece of a whole +++ one step, one grope, one crawl, running, walking in directions +++ there is no goal, but the next step and the feeling that’s getting better and better +++
Side B | OFF BAND
Extract from the supplement to “ALL THESE PLANETS”
From venus I had my microphone straightened to the earth. Begin of the recording was about incurrence of the linguistic developed human. I triggered my recorders stop-taste in January 1986. By use of a therefor developed procedure I managed saving noises on tape only produced on earth. Full other acoustic signals from other orbs, e.g. eruptions and other matter outbursts are not contained on this.
The recordings consist of the amount of every signal produced on earth in mentioned period of time and I brought them to 2x15 minutes by time lapse.
Thus this magnetic tape contains every song that was ever played or sung by humans. The other noises merely have a accompanying function. So why shall I buy records from the Beatles if their music is contained on this tape.
Extract from the cassette scene centralagency “die KATASTROPHE” nr. Eleven
I recommend this cassette, because she’s conventional and experimental at the same time, calm and loud, exciting and thrilling. A music full of contradictions.
All titles used from original recorded tapes (1983-1987) and the vinyl longplayer THE OFF BAND and WAFFELSCHMIEDE --- LINKS WO DAS HERZ IST
Artwork and cover design: WAFFELSCHMIEDE
Composed by Karl von Hörsten and Tine Velte
Producer: Joachim Reinbold
Music: Tape and radio manipulations, noises, electronic instruments, electric guitar, sounds of nature, my voice
When NEUE DEUTSCHE WELLE meets MUSIQUE CONCRETE
Some tracks belong to the live show SLIDES IN MYSTIC performed at Cinemas, Galeries, Bars and Festivals
SIDE A & B | DIE GESUNDEN
Die Gesunden arised from the project “Pionier Seriös” in 1981.
Die Gesunden primary consisted of the duo Eschi Rehm and Mabel Aschenneller. They were also supported by Thomas Wydler (drums).
At the beginning of the 1980s Mabel Aschenneller booked various bands for Berlins New Wavew- and Punkshop “Exxcess”.
Together with Wieland Speck and Blixa Bargeld he organized the legendary “Festival Genialer Dilletanten” in Tempodrom-tent at Potsdamer Platz (Berlin).
Eschi Rehm among other things recorded the disc “Geile Tiere Berlin” with “Geile Tiere” in 1980.
1982 the eponymous LP by “Die Gesunden” on Klaus Schulzes Innovative Communication-Label was published.
The audio-material from this 10” is a demo-cassette from 1981 that served as foundation of the LP-production.
Barcode and Other Identifiers
- Other (Catalog# LP 1): VOD82.1
- Other (Catalog# LP 2): VOD82.2
- Other (Catalog# LP 3): VOD82.3
- Other (Catalog# LP 4): VOD82.4
- Other (Catalog# LP 5): VOD82.5
- Other (Catalog# 10"): VOD82.6