Tag: Ralf Dörper (Page 1 of 3)

A Beginner’s Guide To SARAH BLACKWOOD

Born in Halifax, Sarah Blackwood has been a most striking vocal and visual presence since 1995 when DUBSTAR hit the UK singles charts with ‘Not So Manic Now’, a cover of an obscure song by Wakefield band BRICK SUPPLY.

Sarah Blackwood studied Spatial Design at Newcastle University and it was while living in the city that she met Chris Wilkie and Steve Hillier, joining DUBSTAR as lead singer. Scoring hits under the auspices of OMD, PET SHOP BOYS, ERASURE and NEW ORDER producer Stephen Hague, kitchen sink dramas like ‘Stars’, ‘No More Talk’ and ‘I Will Be Your Girlfriend’ appealed to both electronic music and indie audiences.

DUBSTAR bridged the gap between Synth Britannia and Britpop, opening for ERASURE while also simultaneously being label mates with BLUR, JESUS JONES and SHAMPOO. But after three albums ‘Disgraceful’ ‘Goodbye’ and ‘Make It Better’ on Food Records, with worsening band relations, management tensions and waning audience interest, DUBSTAR disbanded.

In 2002, Blackwood joined multi-instrumentalist Kate Holmes in female synthpop duo TECHNIQUE after original singer Xan Tyler was unavailable for a European tour opening for DEPECHE MODE in Europe. The support slot was a success and led to the pair forming crucial friendships that would help their relaunch as a brand new project.

Morphing into CLIENT and releasing their self-titled debut album in 2003, they initially shunned using their real names, choosing to be mysteriously referred to as Client A and Client B in a ‘1984’ inspired Orwellian twist. Interest in their mysterious allure coincided with the emergence of acts like LADYTRON, MISS KITTIN, BLACK BOX RECORDER and GOLDFRAPP.

A favourite act of Karl Bartos who they opened for at his London ULU gig in 2003, CLIENT became a popular cult draw in Europe and released a further three albums ‘City’, ‘Heartland’ and ‘Command’ before Blackwood officially departed in late 2010, coinciding with a reunion of DUBSTAR.

But despite a well-received 2013 comeback concert at The Lexington in London, things went quiet until Summer 2018 when Blackwood and Wilkie announced they had recorded a new DUBSTAR album as a duo entitled ‘One’. Released in Autumn 2018, it was well-received and considered by some observers to be one of the best albums of the year.

Although best known as the front woman of DUBSTAR and CLIENT, Sarah Blackwood has always been open to collaboration and has lent her charming voice to a number of recordings helmed by artists from Germany, Greece and Canada as well as the UK. Also adept in the art of reinterpretation, among the artists she has covered are TUBEWAY ARMY, PET SHOP BOYS, ADAM & THE ANTS, VISAGE, NEW ORDER, DEPECHE MODE and THE SMITHS.

By way of a Beginner’s Guide to her work, here are eighteen recordings highlighting the varied musical portfolio of Sarah Blackwood, presented in chronological order with a restriction of one track per album project.


DUBSTAR The Day I See You Again (1995)

Possibly one of the standouts from DUBSTAR’s debut long player ‘Disgraceful’, ‘The Day I See You Again’ featured the immortal line “If the man you’ve grown to be is more Morrison than Morrissey”. Blackwood captured a deeply Northern English cynicism which actually transferred abroad, with the song’s American producer Stephen Hague dusting the tune off for the German songstress Claudia Brücken to cover on her reinterpretations album ‘The Lost Are Found’.

Available on the DUBSTAR album ‘Disgraceful’ via Food / EMI Records

http://dubstarofficial.co/


DUBSTAR La Bohème (1997)

One of the B-sides to ‘No More Talk’ and co-written by the late Charles Aznavour, ‘La Bohème’ became the Frenchman’s signature song and an acknowledged chanson classic, telling the tale of a painter recalling his younger years in the Parisian bohemian suburb of Montmartre, hungry yet happy. Applying a wonderful Anglo aesthetic to the translation, Blackwood gave a superb interpretation which more than suited its relocation to West Yorkshire over its icy electronic backdrop.

Available on the DUBSTAR CD single ‘No More Talk’ via Food / EMI Records

https://www.facebook.com/dubstaruk/


DUBSTAR featuring GARY NUMAN Redirected Mail (2000)

Having covered TUBEWAY ARMY’s ‘Everyday I Die’ for the ‘Random’ tribute album, it was now Blackwood’s turn to duet with Gary Numan himself, albeit remotely. “I was in Manchester when we recorded ‘Redirected Mail’” she said, “but Steve and Chris actually went down to Gary’s and sat and had ham and chips with him. They had a right laugh and had a really good time.” As a result of that visit south, Steve Hillier also bought a Roland CP70 electric piano from Numan.

Available on the DUBSTAR CD single ‘The Self Same Thing’ via Food / EMI Records

https://twitter.com/dubstarUK


CLIENT Client (2003)

Having secured a deal with Mute Records via Andy Fletcher’s Toast Hawaii imprint, CLIENT’s stark mission statement of “satisfaction guaranteed” also included a striking look which had a distinct element of Cold War chic. “It started because we didn’t know what to wear on tour with DEPECHE MODE” said Blackwood knowing they would be performing in front of some very partisan Devotees, “if they threw anything at us, we wanted it to be something that was sort of disposable so we thought of the uniforms!”

Available on the CLIENT album ‘Client’ via Toast Hawaii

https://www.facebook.com/ClientMusic/


CLIENT featuring MARTIN GORE Overdrive (2004)

For their second album ‘City’, CLIENT got more ambitious by featuring some guest vocalists which included THE LIBERTINES. But the most notable one was DEPECHE MODE’s Martin Gore in a collaboration that was instigated by Blackwood writing him a letter: “Martin had this newly set-up studio and recorded himself. The thing is, when we mixed the two vocals together, that was a moment! I didn’t know how it was going to work but when you heard it, it was like ‘woo!’…it was a bit spine tingling really!”

Available on the CLIENT album ‘City’ via Toast Hawaii

http://www.martingore.com/


DIE KRUPPS featuring CLIENT Der Amboss (2005)

Of DIE KRUPPS‘ mighty industrialised cover, Ralf Dörper said to The Electricity Club: “When I first heard ‘The Anvil’ (‘Der Amboss’) by VISAGE, I thought ‘what a perfect song for DIE KRUPPS’ – it just needed more sweat, more steel. And it was not before 2005 when DIE KRUPPS were asked to play a few 25-year anniversary shows that I remembered ‘Der Amboss’… and as I was a big CLIENT fan at that time, I thought it would be a good opportunity to ask Fräulein B for assistance in the vocal department”.

Available on the CLIENT EP ‘Untitled Remixes’ via Out Of Line Records

http://www.diekrupps.de/


CLIENT featuring ROBERT GÖRL Der Mussolini (2006)

To beef up their concert sound, CLIENT expanded to a trio to include bassist Emily Mann aka Client E and became a gritty live act which exuded an electronic body presence that powerfully complimented Blackwood’s stoic stage persona as Client B. Occasionally and fittingly, they would be joined on drums by Robert Görl from esteemed Industrial Godfathers DEUTSCH AMERIKANISCHE FREUNDSCHAFT and together they would end the set with their seminal EBM classic ‘Der Mussolini’.

Originally on the self-released CLIENT ‎album ‘Live In Porto’, currently unavilable

http://www.robert-goerl.de/


CLIENT It’s Not Over – Marsheaux remix (2007)

Of Athens-based female duo MARSHEAUX, Blackwood said: “They sort of copied us but it was the biggest form of flattery because they’re such lovely girls! It’s nice to think I’ve inspired something”. So when the two parties toured Germany together in 2008, it was a most appropriate pairing. On their remix of ‘It’s Not Over’, some Hellenic shine was added to the original’s more dystopian demeanour with additional Eurocentric riffage for a slice of electronic pop perfection.

Available on the compilation album ‘Electronically Yours’ (V/A) via Undo Records

https://www.facebook.com/marsheaux/


CLIENT B True Faith (2008)

Described as “one of my favourite Northern folk songs” and arranged by Chris Wilkie on acoustic guitar more or less as such, this live solo performance of this NEW ORDER evergreen formed part of a free download series which also included stripped down versions of CLIENT and DUBSTAR songs as well as THE SMITHS ‘Stop Me If You Think You’ve Heard This One Before’. “I just think a good song will work if you can do it acoustically” Blackwood would later remark.

Originally on the CLIENT B EP ‘Acoustic At The Club Bar & Dining’, currently unavailable

https://twitter.com/sarahblackwood


CLIENT Make Me Believe In You (2009)

Having previously tackled new wave pop like ‘White Wedding’ and ‘Xerox’, CLIENT took a diversion and covered Curtis Mayfield’s soultastic and groove laden ‘Make Me Believe In You’. Co-produced by one-time KILLING JOKE bassist Martin Glover aka Youth who added a more rhythmic energy, things were danced up with an icy edge coming from his frenetic guitar work. This approach more than suited their fourth album’s “brazenly bossy” title of ‘Command’.

Available on the CLIENT album ‘Command’ via Out Of Line

https://www.discogs.com/artist/80278-Client


DUBSTAR I’m In Love With A German Film Star (2010)

Although at the time Blackwood was still in CLIENT, the newly reformed DUBSTAR were invited to submit a cover of their choice as part of a project for Amnesty International Catalunya. While songs by THE ROLLING STONES and the late Kirsty MacColl were considered, the trio settled on this 1981 cult classic made famous by THE PASSIONS. While there was to be an emotional reunion concert in Spring 2013, the DUBSTAR’s reformation as a trio was not to last…

Originally on the compilation album ‘Peace’ (V/A) via Amnesty International, currently unavailable

https://www.discogs.com/artist/72608-Dubstar-2


WILLIAM ORBIT featuring SARAH BLACKWOOD White Night (2010)

While things had become uncertain within the CLIENT camp, Blackwood took time out to work on a Rico Conning penned track for William Orbit’s album ‘My Oracle Lives Uptown’ which dated back to their TORCH SONG days. Although her version did not appear on the final tracklisting, her take was offered as a free download. More accessible than some of CLIENT’s offerings but more purely electronic than DUBSTAR, this was a priceless pop gem which lyrically expressed her pain during that period.

Originally available as a free download, currently unavailable

https://www.williamorbit.com/


SOMAN featuring SARAH BLACKWOOD Blue Monday (2010)

No stranger to cover versions, Blackwood was invited to add her suitably forlorn voice to German producer Kolja Trelle’s version of NEW ORDER’s signature tune. The esteemed musical ears of Stephen Hague always felt that Bernard Sumner and Sarah Blackwood would make a perfect duetting partnership but until that happens, covers are what the public has to make do with for now. Now imagine if she had had sung on ‘Tutti Frutti’ instead of Elly Jackson of LA ROUX?

Available on the SOMAN album ‘Noistyle’ via Trisol Music Group

https://www.facebook.com/SOMAN.Musik/


FOTONOVELA featuring SARAH BLACKWOOD Justice (2013)

The concept of FOTONOVELA’s sophomore offering ‘A Ton Of Love’ was to produce a supreme electronic record featuring vocalists from all stages of classic synthpop. Andy McCluskey was the first on board for the project but the resultant song ‘Helen Of Troy’ turned out so well, it ended up on OMD’s ‘English Electric’! Undeterred, the duo recruited Sarah Blackwood. Halifax’s own Queen of electro took FOTONOVELA onto a cloudier but enjoyable hitchhike through the North West of England with the very personal ‘Justice’.

Available on the FOTONOVELA album ‘A Ton Of Love’ via Undo Records

https://www.facebook.com/undofotonovela/


KOISHII & HUSH featuring SARAH BLACKWOOD Rules & Lies (2015)

Keeping herself busy, Blackwood collaborated with progressive house duo KOISHII & HUSH. “Sarah was one of the vocalists we had always wanted to work with. We managed to get in touch with her and decided to meet in London to discuss the idea.” said Alex Hush, “She was quite keen on the project and after that initial meeting, we sent Sarah a rough backing track which she wrote and recorded vocals for. We then did some tweaks and additional production on ‘Rules & Lies’ and are thrilled with the final version”.

Available on the KOSHII & HUSH single ‘Rules & Lies’ via Grammaton Recordings

http://www.koishiiandhush.com/


VILE ELECTRODES featuring SARAH BLACKWOOD Captivity In Symmetry (2016)

The Electricity Club initially described VILE ELECTRODES as “Client B born and raised in the Home Counties fronting Dindisc-era ORCHESTRAL MANOEUVRES IN THE DARK”, so a duet with Anais Neon was perhaps inevitable. Blackwood added a nonchalant almost-spoken vocal to a variation of the gorgeous ‘Twin Peaks’ flavoured ‘Captive In Symmetry’ as part of a bonus CD ‘Not Everything Is As It Seems’ which came with the initial run of their second album ‘In The Shadows Of Monuments’.

Available on the VILE ELECTRODES special edition album ‘In The Shadows Of Monuments’ via https://vileelectrodes.bigcartel.com/product/in-the-shadows-of-monuments-special-edition-cd-package

http://www.vileelectrodes.com/


RADIO WOLF featuring SARAH BLACKWOOD Rock ‘n’ Roll Forever (2017)

RADIO WOLF is Canadian musician and producer Oliver Blair who remixed ‘It’s Now Over’ and ‘Can You Feel’ under his KINDLE moniker as well as playing guitar on ‘Command’. Now performing with PARALLELS as well as recording in his own right, his debut EP combining electronic music with rock ‘n’ roll featured a stellar cast of female vocalists including his bandmate Holly Dodson, Marika Gauci from his previous combo HOTEL MOTEL, Kelli Ali ex-SNEAKER PIMPS and on the title song, Sarah Blackwood.

Available on the RADIO WOLF EP ‘Rock ‘n’ Roll Forever’ via Oliver Blair

https://www.radiowolfmusic.com/


DUBSTAR Locked Inside (2018)

Just when it looked like that was it over for DUBSTAR, Sarah Blackwood and Chris Wilkie snatched victory from the jaws of defeat with ‘One’. While Wilkie took on prime songwriting duties, the classic bittersweet aura remained, albeit within a more organic setting. Produced by Youth, the most electronic number on ‘One’ was the gorgeous ‘Locked Inside’ with elements of KRAFTWERK creeping in and even TEARS FOR FEARS while Blackwood poignantly reflected on how “my hands are tied”.

Available on the DUBSTAR album ‘One’ via Northern Writes

https://www.instagram.com/dubstaruk/


Text by Chi Ming Lai
30th December 2018

DIE KRUPPS + FRONT LINE ASSEMBLY The Machinists United Live in London

The O2 Academy in Islington saw the opening night of the highly anticipated co-headlining tour by industrial giants DIE KRUPPS and FRONT LINE ASSEMBLY.

After a very generic but entertaining DAF / NITZER EBB-aping set from Germany’s TENSION CONTROL, the London crowd started to fill out for the co-headliners.

According to DIE KRUPPS main synth man Ralf Dörper, the headliner position was decided on a coin toss, with FRONT LINE ASSEMBLY taking the main slot in London. Without wanting to resort to too many cliches, DIE KRUPPS are now a well-oiled maschine.

With new drummer Paul Keller on-board, the act are a fearsome live proposition. After a short intro, the band launched into ‘The Dawning of Doom’ from the 1992 album ‘I’ with frontman Jurgen Engler stalking the stage flanked by the twin guitar attack of Marcel Zurcher and Nils Finkeisen.

There was an early outing for the band’s excellent cover of VISAGE’s ‘Der Amboss’; the last time the band played the UK, they were joined by DUBSTAR’s Sarah Blackwood at The Garage in Highbury, but tonight the band carried the song without her. The song saw the first usage of Engler’s metal pipe bashing, which helped give the act an added layer of visual appeal to a band who are already transfixing live.

With a set spanning the band’s 28 year history, it was clear to see how incredibly influential DIE KRUPPS have been on acts such as RAMMSTEIN with their mixture of brutal guitars and hard sequenced electronics. The 2013 album ‘Machinists of Joy’ was well represented tonight with three tracks ‘Schmutzfabrik’, ‘Robo Sapien’ and ‘Machineries of Joy’ all getting an outing.

The biggest reception was reserved for 1993’s anthemic ‘To The Hilt’ and encore ‘Bloodsuckers’, both from ‘Die Krupps II – The Final Option’. As with fellow compatriots RAMMSTEIN, it would be lazy to overthink the band’s imagery and song content, so to reinforce this Engler made a point of announcing ‘Nazis Auf Speed’ as an “another anti-Fascist song”.

By the climax of the set, Engler had climbed on top of his metal percussion, was waving his microphone stand into the audience and had the Islington crowd eating out of his hand.

The stage was eventually cleared for Canadian headliners FRONT LINE ASSEMBLY, who in comparison to DIE KRUPPS were a very different proposition; more electronic in conception (after a period during the career of using guitars and guitar samples), they now function with a double synth station set-up covered in camouflage netting and a couple of tom drums set-up in front of the main drum kit.

After DIE KRUPPS’ blitzkrieg assault, FRONT LINE ASSEMBLY took a while to warm-up the crowd.

With frontman Bill Leeb seemingly a little aloof, the band still generated a hypnotic and danceable set with the sequenced electronics and vocal samples more to the forefront.

After opening their set with an untitled new track, the uptempo ‘Shifting Through The Lens’ with its vocodered vocals and tightly sequenced synths was a highlight along with the glitchy EDM-inflected ‘Killing Ground’.

The usage of additional live percussion by Leeb and Rhys Fulber helped with the act’s visual appeal, although it became apparent during their set that there were a few technical issues resulting in exchanged glances and conversations between the two musicians.

The overrun meant that FRONT LINE ASSEMBLY had to forego their encore and eventually ended their set with the eponymous title track from 1994’s ‘Millenium’.

On tonight’s showing, the price of admission would have been worth it just for the DIE KRUPPS stellar set, but to have both of these bands on the bill made it a really attractive live proposition for those that love their industrial music.

There really is no excuse to miss this superb double-header and a chance to catch not one but two legendary and influential acts from the EBM scene.


With special thanks to Ralf Dörper

‘The Machinists United’ Tour 2018 continues, dates include:

Gothenburg Truck Stop (24th August), Stockholm Klubben (25th August), Wroclaw Stary Klastor (29th August), Prag Lucerna Music Bar (30th August), Budapest A38 (31st August), Bratislava Majestic Music Club (1st September), Vienna Vipers Room (2nd September), Munich Backstage Halle (4th September), Frankfurt Batschkapp (5th September)

http://www.diekrupps.de/

https://www.facebook.com/diekruppsofficial

http://www.mindphaser.com/

https://www.facebook.com/frontlineassembly/


Text by Paul Boddy
Photos by Simon Helm and Paul Boddy
23rd August 2018

PROPAGANDA The Murder Of Love

A new fan-made PROPAGANDA video which founder member Ralf Dörper has described as “unglaublich” has just hit the web. Set against ‘The Murder Of Love’ from ‘A Secret Wish’, it reimagines a visit to New York by PROPAGANDA during their ‘Outside World’ tour in 1985 when they performed at the Irving Plaza.

With cinematography by Rick Martinez plus makeup by Connie Ojeda Smith and Jaelene Jaquez, the superb and affectionate visual presentation is directed and edited by Vlad Panov. A humorous and nostalgic tribute to PROPAGANDA, Hannah Fleming and Talia Shvedova as respectfully Claudia Brücken and Susanne Freytag are quite convincing, while Panov himself could pass for Michael Mertens in the way the actors who played Stephen Morris in ’24 Hour Party People’ and ‘Control’ did.

However, Vladimir Putin lookalike Michael DeGrandpre could do with a pair of stack heels or stilts as Ralf Dörper. As is always the way, these type of films play with artistic licence and in this instance, the very tall Düsseldorfer actually declined to be part of the ‘Outside World’ tour so was not even in New York on 26th September 1985.

Ralf Dörper told The Electricity Club in Autumn 2012: “I had a quite stubborn view on playing live as PROPAGANDA as I believed it would be not possible to give a proper impression without lifting the studio on stage. And I did not consider it an option to use guest musicians … especially no guitar player.” – their label ZTT just issued a press release to say he was at his day-job in a bank to cover for his absence!

While Dörper continues today touring and recording as a member of DIE KRUPPS, Brücken and Freytag will be opening as xPROPAGANDA for HEAVEN 17 on ‘The Luxury Gap’ tour this Autumn.

Meanwhile, Mertens continues as a successful freelance composer whose production company Escape Route has had commissions from Volkswagen, Renault, Ford, Autostadt and C&A.


‘The Murder Of Love’ is from ‘A Secret Wish’, available via BMG in vinyl LP, CD and digital formats

xPROPAGANDA open for HEAVEN 17 on ‘The Luxury Gap’ 35th Anniversary Tour, dates include:

Northampton Roadmender (Friday 9th November), Norwich UEA (Saturday 10th November), Bournemouth O2 Academy (Friday 16th November), Birmingham O2 Institute (Saturday 17th November), Glasgow O2 ABC (Friday 23rd November), Liverpool O2 Academy (Saturday 24 November), London O2 Shepherds Bush Empire (Friday 30th November), Bristol O2 Academy (Saturday 1st December), Manchester O2 Ritz (Friday 7th December), Sheffield O2 Academy (Saturday 8th November)

DIE KRUPPS go on ‘The Machinists United Tour’ with FRONT LINE ASSEMBLY in 2018, dates include:

London O2 Islington Academy (19th August), Paris La Machine (20th August), Utrecht De Helling (21 August), Krefeld Kulturfabrik (22 August), Gothenburg Truck Stop (24 august 2018), Stockholm Klubben (25 August), Wroclaw Stary Klasztor (29 August), Prague Lucerna Music Bar (30 August),
Budapest A38 (31 August), Bratislava Majestic Music Club (1st September), Vienna Viper Room (2nd September, Munich Backstage Halle (4th September), Frankfurt Batschkapp (5th September)

https://www.facebook.com/claudiaandsusanne/

http://www.diekrupps.com/

http://escaperoute.de/


Text by Chi Ming Lai
11th August 2018

ELECTRI_CITY – The Düsseldorf School of Electronic Music

OMD’s Andy McCluskey said: “Musically we are much more the sons of Düsseldorf than we are the sons of Liverpool. KRAFTWERK, NEU! and LA DÜSSELDORF were so much more influential on us than THE BEATLES”.

Meanwhile ULTRAVOX’s Chris Cross adds: “Personally I would have loved to have been in a band like LA DÜSSELDORF”

First published in German during the Spring of 2015, Rudi Esch’s ‘ELECTRI_CITY – Elektronische Musik Aus Düsseldorf’ gave a fascinating insider’s account of the Germany’s influential post-war music scene which was centred around the city of Düsseldorf.

The original book spawned an English language edition ‘ELECTRI_CITY – The Düsseldorf School of Electronic Music’, two compilation albums released on Grönland Records and an annual music conference, the third of which will take place on FRIDAY 27TH and SATURDAY 28TH OCTOBER 2017.

Among those performing live will be ANNE CLARK, ROBERT GÖRL, STRÖME, ARCTIC SUNRISEELECTRONIC CIRCUS and KATJA VON KASSEL, while JONATHAN BARNBROOK will be giving a talk entitled ‘Designing Bowie’. In addition, The Electricity Club will be chairing a panel discussion with Zeus B Held and Chris Payne.

Rudi Esch came to prominence as the bassist of industrial trailblazers DIE KRUPPS whom he joined in 1988, but prior to that, he was in DIE ENGEL DES HERRN with the mercurial Klaus Dinger of NEU! and LA DÜSSELDORF fame.

The book takes an unusual format in that it features a series of parabites, pieced together from over fifty exclusive interviews, to tell the story of The Düsseldorf School and its cultural significance.

This makes the text easily digestible and is certainly a preferred layout compared to the more tedious documents that have been published about musik von die Bundesrepublik over the last few years.

Interviewees include Michael Rother, Klaus Dinger, Wolfgang Flür, Daniel Miller, Paul Humphreys, Andy McCluskey, Martyn Ware, Glenn Gregory, Chris Cross, Ryuichi Sakamoto, Giorgio Moroder and Rusty Egan who gives one of the funniest quotes: “To me, the Germans made cars and rockets. Mercedes and Messerschmitt were the names I knew before KRAFTWERK”.

“Düsseldorf is the capital of electronic music” says Esch, as he gives an account of how the Düsseldorf electronic scene developed from 1970 to 1986 with acts like KRAFTWERK, LA DÜSSELDORF, DER PLAN, LIAISONS DANGEREUSES, RIECHMANN, RHEINGOLD, PROPAGANDA, DAF and NEU!

In those early days, the choice of instrumentation was dictated by money. Ralf Hütter and Florian Schneider-Esleben both came from affluent millionaire families, with the latter’s father a prominent architect who oversaw the redesign of the Cologne-Bonn Airport.

As expensive as synthesizers were back then, the more avant-garde types tended to prefer EMS equipment as it did not come with a keyboard, while those who liked melody opted for the Minimoog.

KRAFTWERK of course bought both! But as former member Ebehard Kranemann remembers “KRAFTWERK was not about the money, it was about the music”.

And with his Farfisa organ and its preset rhythm accompaniment, Hütter became fascinated with mechanical percussive templates and goaded their then-drummer Klaus Dinger with his proclamation that it was “the fastest drummer in the world”.

Klaus Dinger and Michael Rother were working class boys, which influenced their pursuit of a more organic approach and ultimately led to them flying the KRAFTWERK nest to form NEU! While Rother had the talent and an easy going manner, Dinger had ambition and his forthright tendencies did not win him many friends. “With Klaus, you never knew if he would give you a headbutt or an invitation to dinner…” says Wolfgang Flür, “…all in all, I didn’t like him”.

Dinger was explosive, confrontational and unpredictable. In KRAFTWERK, while Hütter and Schneider had their neon lit signs with their first names in blue, he wanted one with ‘Klaus’ in red! When Colgate offered to pay a substantial amount of money to use LA DÜSSELDORF’s hit ‘Rheinita’ in a TV advert, he declined. There was also the incident of him breaking journalist Konrad Schalensick’s nose following a negative review of their second album ‘Viva’.

The signs were there from the start, with Dinger playing rhythmic guitar alongside Rother’s melodic interplay, not satisfied with just being the drummer. So without Conny Plank to act as buffer and referee, NEU! would never have lasted for three albums. The silent partner in NEU! who recognised talent and created an atmosphere for musicians to experiment, Plank was without doubt a factor in the second side of ‘Neu! 2’ being filled with speeded up and slowed down variations of a previously issued single.

The thorny issue of KRAFTWERK’s treatment of Conny Plank is discussed in the book; “I don’t know where KRAFTWERK would be today if it wasn’t for Conny” says Hans Lampe, assistant to Plank and later to become a member of LA DÜSSELDORF.

However, Plank did accept 5000 Deutschmarks (a lot of money in 1974!) which bought him out of the co-producer credit on ‘Autobahn’ after it was licensed and edited for release by Capitol Records in America.

Another discussion point is Karl Bartos‘ contribution to KRAFTWERK as he wrote many of the melodies as ‘the kraftsman’. According to Michael Mertens of PROPAGANDA who was a conservatoire classmate: “Karl understood that to make popular music, you had to retain some degree of naivety”.

Classical music education played an important role and it appeared in the most unlikely of places. DAF’s Robert Görl had much in common with Karl Bartos and Michael Mertens, although Görl says: “Wir wollten lieber mit Maschinen arbeiten. We always preferred working with machines”.

During the post-punk period, just as Liverpool had Eric’s, Manchester had The Factory and London had The Blitz, Düsseldorf had a creative centre emerge around Die Ratinger Hof.

Affordable synths from Japan such as the Korg MS20 were a game changer for younger bands like DAF and DIE KRUPPS as they found their sound. However, there was an important distinction between synths and keyboards as Kurt Dahlke of DER PLAN and PYROLATOR explains: “I insist that I am never credited as a keyboardist on records. A keyboard player is some kind of all-round entertainer, sat at his keyboard using various presets. I insist on synthesizer”.

While KRAFTWERK were a reaction to the Americanisation of popular culture in Germany, the next generation of more forthright and aggressive acts like DIE KRUPPS and DAF were a reaction to KRAFTWERK.

Jürgen Engler mentions “I hadn’t bought a single KRAFTWERK album” while Gabi Delgado comments that “To me, KRAFTWERK were sounding too boring, too beautiful, too sedate and too sterile” and even adds “Sequencers and Moroder. That was more important for electronic music than the entire legacy of KRAFTWERK, NEU! and LA DÜSSELDORF”.

DAF’s preference for a militaristic aesthetic caused controversy and confused observers, but from the off, they were out to shock. They attracted a following which Gabi Delgado hated; his parents had escaped from the Fascist Franco regime in Spain. However, their early sequencer guru Chrislo Haas was less bothered and flirted with the ideology as a fashion statement.

Their manager Bob Giddens reckons “DAF kind of overdid it later on with their hyper-Germaness” and as they hit the peak of their success, Ralf Dörper reckons they disappeared in a haze of “Sex, drugs and sequencer”. Haas eventually left DAF and went on to form alternative club favourites LIAISONS DANGEREUSES in a charged partnership with Beate Bartel of MANIA D.

Of course, all this is only a small part of the story. The visionaries, technicians and eccentrics who played their part like the late Gunter Körber (A&R for Metronome and Brain Records who later founded the Sky label that issued key albums by Michael Rother and Wolfgang Riechmann), inventor Werner Lambertz and Florian Schneider’s sister Claudia also give their takes on the scene.

The book appropriately ends its coverage in 1986, when KRAFTWERK’s ‘Electric Café’ disappointed many and led to the departure of Messrs Flür, Bartos and eventually Schneider.

But fast forward to 2017 and Düsseldorf has come to terms with one of its biggest cultural exports and is now happy to celebrate the city’s influence on musicians and artists all over the world.

However, the final word has to go to the departed Klaus Dinger: “A lot of people may have helped themselves to the stuff we developed, and then made big bucks abroad. But nevertheless I’d go as far as saying: this was only ever possible in D-U-S, my home town Düsseldorf”.


‘ELECTRI_CITY – The Düsseldorf School of Electronic Music’ is published by Omnibus Press, available via all good book and online retailers

https://www.facebook.com/Electri.city.Esch/

The ELECTRI_CITY_CONFERENCE takes place in Düsseldorf on FRIDAY 27TH and SATURDAY 28TH OCTOBER 2017 featuring ANNE CLARK, ROBERT GÖRL, STRÖME, ARCTIC SUNRISE, ELECTRONIC CIRCUS and KATJA VON KASSEL – for further information, please visit http://www.electricity-conference.com/

Tickets available from https://www.eventbrite.de/e/electri-city-conference-2017-tickets-37245039917

https://www.facebook.com/ELECTRICITY.Conference/


Text by Chi Ming Lai
26th August 2017

ELECTRI_CITY 1_2

Elektronische Musik Aus Düsseldorf

German music has been compiled before, but it has often been a hit and miss affair.

electri_city2Soul Jazz Records’ lushly packaged ‘Deutsche Elektronische Musik’ sets over two volumes contained a wide range of freeform experimental works from Der Bundesrepublik, but occasionally forgot about the Trade Descriptions Act implications of its title.

Released to coincide with ‘ELECTRI_CITY – The Düsseldorf School of Electronic Music’, the English translation of the acclaimed book by Rudi Esch about the city’s music heritage, ‘ELECTRI_CITY 2’ gathers together the more accessible elements of Deutsche Elektronische Musik, Kosmische and Neue Deutsche Welle.

Think of it as a direct journey of discovery, but with the benefit of a local tour guide as well. Issued by Grönland Records who handled the NEU! and HARMONIA remasters, the 2CD deluxe edition  ‘ELECTRI_CITY 1_2’ adds the first volume that came out in 2015 alongside the original German language book.

NEU! and DAF will probably be the best known acts of those included; produced by the legendary Conny Plank, both are more than well represented on ‘ELECTRI_CITY 1_2’. But with the proto-synthpop of ‘Isi’ and the proto-punk of ‘Hero’ from the former, alongside the electro-body controversies of ‘Der Mussolini’ and ‘Kebabträume’ from the latter, there are also many other acts who are worthy graduates of the school.

One of the most welcome inclusions is that of the under rated Neue Deutsche Welle trio RHEINGOLD. Both ‘3Klangsdimensionen’ and ‘Fluß’ are almost up there with great international crossover hits like PETER SCHILLING’s ‘Major Tom’. But often, the German language was a barrier to wider recognition and apart from DAF, most of the material gathered here does not really break the lyric bank. Those of Klaus Dinger from NEU! in particular are amusingly close to ranting gibberish, especially on the two brilliant offerings from his more synth driven combo LA DÜSSELDORF.

Electri_city-cover-JPGMissing though are KRAFTWERK; but with Ralf Hütter’s well-known defensiveness of the Kling Klang legacy, representation instead comes from former percussionist Wolfgang Flür and his autobiographical party piece ‘I Was A Robot’.

There is also a special hidden cover of ‘Ruckzuck’ from THE TECHNOCRATS, a side project of Ralf Dörper, best known as a member of PROPAGANDA and DIE KRUPPS. Anyone getting as far as even listening to this set of compilations will probably have at least one KRAFTWERK album in their collection, so their absence is not really noticed.

As Andy McCluskey put it: “Whilst KRAFTWERK cement their position in the pantheon of the museums and the books, LA DÜSSELDORF and NEU! were very important. They also did something that was beautiful and different”. Of course, British acts like OMD championed the cause of Elektronische Musik aus Düsseldorf, eventually distilling the form into synthpop and even selling it back to Das Vaterland; in acknowledgement of that, a mysterious collective called MAKROSOFT cover ‘Electricity’ in a deadpan apocalyptic fashion.

Further evidence of cultural exchange comes with the 1976 HARMONIA & ENO collaboration ‘Luneberg Heath’, the effects of which were to later have a profound effect on DAVID BOWIE’s Berlin Trilogy of ‘Low’, ‘Heroes’ and ‘Lodger’. But the biggest surprise to many will be ‘Darling Don’t Leave Me’, a lost duet between DAF drummer Robert Görl and EURYTHMICS’ Annie Lennox which is a gloriously wiggly synthpop pleasure.

Diversity was one of the beauties of The Düsseldorf School Of Electronic Music and harder, edgier sounds emerged alongside more esoteric instrumental pieces. ‘Wahre Arbeit Wahrer Lohn’ and ‘Zwei Herzen, Ein Rhythmus’ from DIE KRUPPS show how much of a debt is owed to them by the Industrial music scene.

Meanwhile LIAISONS DANGEREUSES led by Beate Bartel (MANIA D, EINSTÜRZENDE NEUBAUTEN, MALARIA!) and Chrislo Haas (DAF, DER PLAN) took Teutonic precision into the underground dance clubs with hypnotic numbers like ‘Etre Assis Ou Danser’ and ‘Los Ninos Del Parque’. However, those in the hunt for something even angrier will probably appreciate the more challenging platitudes of BELFEGORE.

With ‘Flammende Herzen’, NEU! guitarist Michael Rother opened his solo account to become Germany’s answer to Mike Oldfield while on ‘Karussell’, he also proved he could sound like a one-man ULTRAVOX. A former band mate of Rother’s, RIECHMANN is undoubtedly the great lost talent of the era; the lunar synth passages of ‘Abendlicht’ and the delicate melodic schaffel of ‘Wunderbar’ showcased his potential towards the musical magnificence that was never able to be fulfilled due to his tragic passing.

Of course, a vibrant art scene centred around Düsseldorf and provided a sympathetic environment for many to flourish. DER PLAN, TEJA and DIE LEMMINGE are good examples of that more experimental approach. PYROLATOR’s ‘Max’ in particular comes over like a Rhein-Ruhr version of THE NORMAL while ‘Mustafa’ by TOPOLINOS, a pre-PROPAGANDA girl group featuring Claudia Brücken and Susanne Freytag, is a jaunty, enjoyable piece of Middle Eastern flavoured avant pop that was not really a true indicator of what was to come.

All-in-all, ‘ELECTRI_CITY 1_2’ is as Rudi Esch puts it “an intelligent and sophisticated roller coaster ride through one of the most integral chapters of recent German music history”. A fine collection of cathartic expressionism, the 29 tracks on offer provide a fine entry point into a fascinating post-war attitude that resulted in a highly influential musical aesthetic.

CD1
01 LA DÜSSELDORF Düsseldorf
02 RIECHMANN Wunderbar
03 HARMONIA & ENO Luneburg Heath
04 DER PLAN Wir Werden Immer Mehr
05 DAF Der Mussolini
06 NEU! Hero
07 TEJA Säuren Ätzen
08 DIE KRUPPS Wahre Arbeit Wahrer Lohn
09 LIAISONS DANGEREUSES Los Ninos Del Parque
10 WOLFGANG FLÜR I Was A Robot
11 RHEINGOLD 3Klangsdimensionen 2010
12 MICHAEL ROTHER Flammende Herzen
13 MAKROSOFT Electricity

CD2
01 RIECHMANN Abendlicht
02 NEU! Isi
03 RHEINGOLD Fluss
04 ROBERT GÖRL featuring ANNIE LENNOX Darling Don’t Leave Me
05 DIE KRUPPS Zwei Herzen, Ein Rhythmus
06 TEJA SCHMITZ Studieren
07 DAF Kebabträume
08 PYROLATOR Max
09 LA DÜSSELDORF La Düsseldorf
10 BELFEGORE Mensch Oder Gott
11 DER PLAN Gummitwist
12 LIAISONS DANGEREUSES Etre Assis Ou Danser
13 TOPOLINOS Mustafa
14 DIE LEMMINGE Himmel
15 MICHAEL ROTHER Karussell
16 THE TECHNOCRATS Ruckzuck (Hidden Track)


‘ELECTRI_CITY 1_2’ is released by Grönland Records as a deluxe 2CD edition. Each compendium is also available separately as a CD, double vinyl LP and download

https://groenland.com/en/artist/electri_city/

ELECTRI_CITY The Dusseldorf School Of Electronic Music‘ELECTRI_CITY – The Düsseldorf School of Electronic Music’ by Rudi Esch is published by Omnibus Press on 26th August 2016.

Book launch events featuring Q&A sessions with Rudi Esch and special guests to be announced include: London Rough Trade East (10th September), Brighton Hotel Pelirocco (11th September), Liverpool Cavern (9th November), Birmingham and Midland Institute (12th November), Manchester Palace Hotel (13th November)

Please check https://www.facebook.com/Electri.city.Esch/ for details

This year’s ELECTRI_CITY_CONFERENCE takes place at Düsseldorf CCD on 14th – 15th October 2016

http://www.electricity-conference.com/

https://www.facebook.com/ELECTRICITY.Conference/


Text by Chi Ming Lai
17th August 2016, updated 1st July 2017

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