Tag: La Düsseldorf (Page 3 of 4)

ELECTRI_CITY 1_2

17 August 2016 /

Elektronische Musik Aus Düsseldorf

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

Soul 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.

Missing 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

A Beginner’s Guide To CONNY PLANK

6 August 2016 /

It was at Conny’s Studio near Cologne that a number of landmark recordings were completed, notably KRAFTWERK’s ‘Autobahn’ and ULTRAVOX’s ‘Vienna’. 

The studio was the operational centre of engineer and producer Konrad Plank whose innovative portfolio covered a wide spectrum of music.

Using a customised mixing desk, Plank favoured a dynamic production ethos that went against the grain of the compressed rock recording of the times. An advocate in the possibilities of electronics, he said: “I like synthesizers when they sound like synthesizers and not like instruments. Using a drum machine for electronic music is okay, but not if you try to make it sound like a real drummer”.

Conny Plank’s work with pioneering German experimental acts such as KRAFTWERK, CLUSTER and NEU! had a strong influence on David Bowie and Brian Eno, and thus ultimately every act that emerged from Synth Britannia; John Foxx considers Plank to be the most important record producer since George Martin.

His influence was quite evident when ULTRAVOX worked with George Martin on the ‘Quartet’ album in 1982; compared to their Plank produced Cologne Trilogy of ‘Systems Of Romance’, ‘Vienna’ and ‘Rage In Eden’, ‘Quartet’ sounded thin and lacked density. But as history has shown, a producer can only achieve so much when the artists themselves are not delivering and even Plank’s involvement in ULTRAVOX’s lamentable ‘U-Vox’ album could not save it.

“Craziness is something holy” Plank once said; his key to getting the best out of his work was to enjoy the company of the acts he worked with. This was a particularly important requisite when trapped inside a countryside complex away from the social distractions of a city.

When Plank was booked by Daniel Miller for a four day session to record DAF’s first full-length album ‘Die Kleinen Und Die Bösen’, only the final day involved any actual recording as he had spent the first three days getting to know them; the relationship with DAF continued for a further three albums.

However, legend has it that after being introduced to U2 by Brian Eno with the view to producing ‘The Joshua Tree’, Plank turned down the job declaring: “I cannot work with this singer!”

As well as studio work, Plank was also an active musician. It was while touring South America with CLUSTER’s Dieter Moebius that Plank fell ill; he sadly passed away in December 1987 at the age of 46. Conny Plank leaves an important musical legacy, so here is a look back at twenty of his works, with a restriction of one track per album project…

ASH RA TEMPEL Traummaschine (1971)

ASH RA TEMPEL were a highly important Kosmiche band; it was the platform from which future electronic exponents Manuel Göttsching and Klaus Schulze emerged. Plank engineered their very different debut album, seeded from sessions of free-form improvising. With just one track per side of vinyl, the eerie atmospheres of ‘Traummaschine’ contrasted with the noisier rock of ‘Amboss’.

Available on the ASH RA TEMPEL album ‘Ash Ra Tempel’ via SMGO Art

http://www.ashra.com/

KRAFTWERK Tanzmusik (1973)

Having engineered KRAFTWERK’s first two albums and the earlier ORGANISATION ‘Tone Float’ long player, Conny Plank helped their shift towards synthesizers on their third long player. A Minimoog and an EMS AKS appeared, but a Farfisa electric piano and a preset rhythm unit were the dominant textures of ‘Tanzmusik’. Things were becoming more structured with the abstract use of vocals.

Originally on the KRAFTWERK album ‘Ralf & Florian’ via Philips Records, currently unavailable

http://www.electriccafe.info/

NEU! Für Immer (1973)

Plank acted as mediator between the NEU! nucleus of Michael Rother and Klaus Dinger who each had quite different personalities and aspirations. Over a classic Motorik beat, ‘Für Immer’ featured carefully layered mini-cacophonies of sound. Indeed, so much studio time was spent on the track, the duo ran out of budget.

Available on the NEU! album ‘Neu! 2’ via Grönland Records

http://www.neu2010.com/

KRAFTWERK Autobahn (1974)

Under Plank’s stewardship, ‘Autobahn’ was KRAFTWERK’s breakthrough release as their transition into electronic pop. Ralf Hütter’s octave shifting Minimoog formed the rhythm backbone alongside a futuristic electronic snap, while Florian Schneider’s ARP Odyssey took the melodic lead over a 22 minute car journey. The parent album was to be their last recording with Plank.

Available on the KRAFTWERK album ‘Autobahn’ via EMI Music

http://www.kraftwerk.com/

HARMONIA Deluxe (1975)

Unable to recreate NEU! live as a duo, Rother headed to Forst to meet with Dieter Moebius and Hans-Joachim Roedelius of CLUSTER to record ‘Musik Von Harmonia’. For the follow-up ‘Deluxe’, they added vocals, a drummer in Mani Neumeier of GURU GURU and Plank to assist with production. The wonderful synth work on the title track signalled a melodic sensibility equal to KRAFTWERK.

Available on the album ‘Deluxe’ via Grönland Records

http://www.harmonia1973.com/

CLUSTER Sowiesoso (1976)

Plank’s association with Dieter Moebius and Hans-Joachim Roedelius began in 1969. Their fourth album ‘Sowiesoso’ was CLUSTER’s first fully realised exploration into ambient electronics. With gentle melodic phrasing and unimposing rhythmical patterns, the title track was a wonderfully hypnotic adventure that welcomed the listener into the soothing world of the long player’s remaining aural delights.

Available on the CLUSTER album ‘Sowiesoso’ via Bureau B

http://www.bureau-b.com/cluster.php

LA DÜSSELDORF Time (1976)

The third NEU! album saw a two sided approach with a frustrated Klaus Dinger looking to seek the limelight. He finally got what he wanted in LA DÜSSELDORF and headed down a more aggressive direction on their debut self-titled LP produced by Plank where there was a lot of “Düsseldorf”. But ‘Time’ was the epic lengthy album closer that built to a brooding climax.

Available onthe LA DÜSSELDORF album ‘La Düsseldorf’ via WEA

http://www.la-duesseldorf.de

MICHAEL ROTHER Flammende Herzen (1977)

Michael Rother’s first three solo albums ‘Flammende Herzen’, ‘Sterntaler’ and ‘Katzenmusik’ were produced by Plank and featured CAN’s Jaki Liebezeit on drums. “he was so valuable” Rother said in 2015, “we wouldn’t have been able to record NEU! or the second HARMONIA album or my solo albums without Conny, so he’s all over the place in my music… thank you Conny”.

Available on the MICHAEL ROTHER album ‘Flammende Herzen’ via Random Records

http://www.michaelrother.de/en/

BRIAN ENO By This River (1977)

Originating from his sessions with CLUSTER, Eno produced this beautiful piano and synth ballad at Conny’s Studio with Plank at the engineering controls for inclusion on his fourth pop solo album ‘Before & After Science’. The warmth extracted from the Yamaha CS80 used was one of the key stand-out elements of ‘By This River’, which was later covered by Martin Gore for ‘Counterfeit 2’.

Available on the BRIAN ENO album ‘Before & After Science’ via Virgin Records

http://brian-eno.net/

ENO MOEBIUS ROEDELIUS Broken Head (1978)

With the success of their earlier ‘Eno & Cluster’ ambient opus, the artful threesome added voices and more experimentation for its follow-up ‘After The Heat’. With Plank again behind the desk, ‘Broken Head’ recalled some of Eno’s work with Bowie on ‘Heroes’ while deep monotone vocals were a offset by some oddly noted piano accompaniment and an unorthodox rhythmic template.

Available on the ENO MOEBIUS ROEDELIUS album ‘After The Heat’ via Bureau B

http://www.roedelius.com/

ULTRAVOX! Slow Motion (1978)

The first phase of ULTRAVOX! was dominated by the songwriting of John Foxx, but ‘Slow Motion’ was a group effort. Decamping to Conny’s Studio, the intro and theme were composed by bassist Chris Cross on his newly acquired EMS AKS. The quintet locked together as never before, with Billy Currie’s ARP Odyssey playing off Robin Simon’s treated guitars as one behind Warren Cann’s powerful drums.

Available on the ULTRAVOX! album ‘Systems Of Romance’ via Island Records

http://www.metamatic.com/

MOEBIUS & PLANK Tollkühn (1981)

Dieter Moebius and Conny Plank released their first collaborative effort, the reggae influenced ‘Rastakraut Pasta’ in 1979. For the second album ‘Material’, a more rigid beat was applied, as well as driving synthesizer rhythms. ‘Tollkühn’ was a mightily pulsing electronic workout that more than suited the title’s English translation of ‘Daredevil’.

Available on the MOEBIUS & PLANK album ‘Material’ via Bureau B

http://www.bureau-b.com/moebius.php

HOLGER CZUKAY Witches’ Multiplication Table (1981)

Holger Czukay was at the zenith of his Dali-inspired surrealist sound painting, having released ‘Movies’ in 1979. Following their LES VAMPYRETTES collaboration in 1980, Plank contributed ‘Witches’ Multiplication Table’ to the second solo album by the CAN bassist. With Czukay providing an oddball monologue over a dub backbone, Plank added cemetry synthesizer violin alongside bursts of French horn.

Available on the album ‘On The Way To The Peak of Normal’ via Grönland Records ‎

http://www.czukay.com/

PHEW! Signal (1981)

PHEW! was a member of psychedelic rockers AUNT SALLY and her first solo single was produced Ryuichi Sakamoto. Produced by Plank, Holger Czukay and Jaki Liebezeit, ‘Signal’ was the experimental Japanese singer’s take on Neue Deutsche Welle with distant echoes of Berlin’s MALARIA! looming. Driven by hypnotic bass synths and punky guitar, it was unsurprisingly tense and darkly rhythmic.

Available on the PHEW! album ‘Phew!’ via Pass Records

http://www.japanimprov.com/phew/

EURYTHMICS Never Gonna Cry Again (1981)

Annie Lennox and Dave Stewart were actually interested in rhythmic electronic music from Europe, hence their name. When the pair left THE TOURISTS, one of the first to lend support for their new aspirations was Conny Plank. ‘Never Gonna Cry Again’ with its doubled synth and flute solo was the first song released from their production partnership.

Available on the EURYTHMICS album ‘In The Garden’ via Sony BMG

http://eurythmics.com/

ULTRAVOX The Thin Wall (1981)

So happy was Plank with working with ULTRAVOX on ‘SystemsOf Romance’ that when Midge Ure joined following the departure of John Foxx, he offered to finance the recording of the Vienna’ album. Produced in Conny’s Studio for the follow-up ‘Rage In Eden’, ‘The Thin Wall’ densely merged synthesizers, guitar, piano, violin and Linn Drum for a formidable yet under rated hit single.

Available on the ULTRAVOX album ‘Rage In Eden’ via EMI Records

http://www.ultravox.org.uk/

DAF Kebab Träume (1982)

Gabi Delgado-López and Robert Görl had worked with Conny Plank since 1979; DAF had reduced to a minimal electro body core of tight drumming and synth programming to accompany shouty, aggressive vocals. As with a previous Plank production ‘Der Mussolini’, DAF again courted controversy on ‘Kebab Träume’ with the provocative line “Deutschland! Deutschland! Alles ist vorbei!”

Available on the DAF album ‘Für Immer’ via Mute Records

http://www.robert-goerl.de

MOEBIUS PLANK NEUMEIER Speed Display (1983)

Mani Neumeier, the percussionist and singer of GURU GURU who recorded three albums with Plank joined him and Moebius for a one-off long player ‘Zero Set’, Neumeier’s presence was felt heavily on ‘Speed Display’, a mad hyperactive collage of drums, bubbling electronics and treated robotic vocals that did exactly what it said on the tin!

Available on the MOEBIUS PLANK NEUMEIER album ‘Zero Set’ via Bureau B

http://mani-neumeier.de/guruguru/index.htm

LES RITA MITSOUKO Marcia Baïla (1985)

‘Marcia Baïla’ was LES RITA MITSOUKO’s tribute to their late friend, Argentinian dancer Marcia Moretto. With Plank at the production helm, a squelchy backing track with enough space for Catherine Ringer’s strident theatrics was honed for a wonderful celebration of life. The duo went on to become very popular in France, collaborating with SPARKS in 1990.

Available on the LES RITA MITSOUKO album ‘Best Of’ via Sony Music

http://www.ritamitsouko.org/

GIANNA NANNINI Bello E Impossibile (1986)

The Italian singer / songwriter unusually had something in common with NITZER EBB’s Douglas J McCarthy in that she too had a relative who was a F1 driver; in her case it was her brother Alessandro. Plank started working with Nannini in 1982 at a time when he was still regarded as a more artistically minded producer, rather than one who delivered pop hits. ‘Bello E Impossibile’ was a huge hit.

Available on the GIANNA NANNINI album ‘Profumo’ via Dischi Ricordi

http://www.giannanannini.com/en/

Dedicated to the memory of Conny Plank 1940 –1987

The 4CD box set ‘Who’s That Man: A Tribute To Conny Plank’ is available via Grönland Records ‎

https://www.facebook.com/profile.php?id=100063520122298

http://groenland.com/en/artist/conny-plank-2/

Text by Chi Ming Lai
6th August 2016

The ELECTRI_CITY Show

4 July 2016 /

“Düsseldorf is the capital of electronic music” – that is the quintessence of ‘ELECTRI_CITY – Elektronische_Musik_Aus_Düsseldorf’.

In it, Rudi Esch gives an eyewitness account of how the Düsseldorf electronic scene developed from 1970 to 1986 and spawned acts like LA DÜSSELDORF, DIE KRUPPS, DER PLAN, LIAISONS DANGEREUSES, RIECHMANN, RHEINGOLD, PROPAGANDA, DAF, KRAFTWERK and NEU!

To tie in with the German language book, Düsseldorf paid homage to its electronic music history with the ELECTRI_CITY_CONFERENCE, a three day event of lectures, discussions and live music. An impressive line-up was assembled and read like a ‘Who’s Who?’ of electronic music, with figures such as Gabi Delgado, Ralf Dörper, Rusty Egan, Harald Grosskopf, Peter Hook, Stephen Mallinder, Mark Reeder and Michael Rother all participating in various talks and discussions.

Known for his love of German music, OMD’s Andy McCluskey was interviewed by Rudi Esch for ‘ELECTRI_CITY – Elektronische_Musik_Aus_Düsseldorf’ to give his viewpoint on why die Düsseldorf Schule made such an impression on him as a teenager in The Wirral.

With a version of the book in Englisch on the way retitled ‘ELECTRI_CITY – The Düsseldorf School Of Electronic Music’, it was appropriate that on the final day of the ELECTRI_CITY_CONFERENCE, McCluskey and Esch presented what was billed as ‘The ELECTRI_CITY Show’.

Discussing a variety of records which Esch had brought along from his own personal collection, the pair indulged in some light hearted, but fanboy friendly banter…

Rudi: KRAFTWERK were something radical and new when they first appeared in the UK in 1975. What was the impression you had when you saw them at Liverpool Empire?

Andy: I was wearing my trenchcoat, long scarf, flared jeans and afro, and they walked out on stage in suits and ties… it was incredible. I’m on record as remembering it was September 11th and seat Q36. I remember it because it was the first day of the rest of my life! It was also the front row of the cheaper seats! This was something I had never seen and it was forty years ago! The amazing thing is, KRAFTWERK are still, NOW, more futuristic on stage than 99% of bands!

Rudi: Yes, it was so different at this time, to cut your hair and buy a suit…

Andy: … although it took Wolfgang Flür a long time to cut his hair, he had it longer for while than the rest of them *laughs*

Rudi: Yes, especially on the inside cover of ‘Radio-Activity’…

Andy: And his moustache lasted a bit too long *laughs*

Rudi: Wolfgang says that was his D’Artagnan look!

Andy: Yes, I can see that. I’m not gay but he was a sexy man, he was the Elvis of electronic music and still is!

Rudi: We often talk about the music, but let’s talk about the artwork of NEU!

Andy: I know Rusty Egan said the artwork didn’t really impress him but if you look at that, it is more contemporary now that if they had done something modernist or constructivist back in the 70s.

Rudi: The original cover to ‘Autobahn’ in the UK was very graphic…

Andy: But the cover I had was like a painting of a car going down the autobahn. That fantastic blue sleeve with the minimal sign image influenced Peter Saville.

Rudi: So you bought the German import?

Andy: That’s what I did! I would go to the shop on Saturday in Liverpool and go to the ‘German’ section and just see what they had that they didn’t have last week. If there was something there, it was the most exciting day of the week, and if there wasn’t, it would be like “NO! I’ve got nothing to listen to this weekend that’s new!”

Rudi: How did you discover LA DÜSSELDORF?

Andy: John Peel introduced me to LA DÜSSELDORF… I was sat in bed, but still had the radio on. On came this track and I was like “what the hell is that?”… so I’ve got ‘Silver Cloud’ minus the first fifteen seconds recorded on a cassette! It was incredible, but I didn’t realise that LA DÜSSELDORF were Klaus Dinger’s band after NEU! although when I spoke to Michael Rother, he dismissed LA DÜSSELDORF as pop! *laughs*

I was still kind of in the dark. You could buy these records, but nobody was writing about them in the press and there was no internet. So I would like the sleeve and then buy it to hear what it sounded like.

People always talk to us about KRAFTWERK, and obviously, they were hugely important. But there was another element from Düsseldorf that influenced us, and that was the organic side which was firstly NEU! and then LA DÜSSELDORF and Michael Rother’s solo records.

Rudi: But KRAFTWERK made a bigger overall impression?

Andy: KRAFTWERK’s ‘Radio-Activity’ is probably to this day, the album that influenced Paul Humphreys and I so much. It taught us you could make music with anything you wanted, because we had nothing.

They were definitely being the future, while dressed like the past. It’s interesting that to try not to look rock ‘n’ roll, the only place they could go was backwards with their look… it’s timeless really. They were trying not to be Anglo-American rock cliché and they achieved it. That for me was the exciting thing. When I was a teenager, I was looking for something different.

I became friends with Wolfgang Flür and Karl Bartos in the 90s, and was invited to Wolfgang’s flat for dinner; on the wall was a gold record for ‘Radio-Activity’ which was a hit single in France. I was telling them that ‘Radio-Activity’ was the song that most influenced OMD and told them ‘Electricity’ was just an English punk version of ‘Radio-Activity’. They replied “Yes, we know!”… it was that obvious! *laughs*

It’s like many teenagers now are frightened of the future and want to conform, but everything about me and people I knew were searching for something different.

So when I found KRAFTWERK, NEU! and LA DÜSSELDORF, it was absolutely NOT the rock ‘n’ roll cliché that I was bored of.

Rudi: Although Wolfgang has a past in a beat band called THE BEATHOVENS…

Andy: But what people think of now as super distilled minimalism, the early records, you could see how KRAFTWERK came out of the more freeform, jazz music from playing with other people in Germany. But they slowly distilled their own style and sound, and moved away from that organic sound which was amazing, but also meant that we couldn’t go with them on that journey because we were kids with no money, so there was no point trying to be KRAFTWERK. So we just tried to do our thing, this strange hybrid of their ideas, emotional music and completely unconsciously, probably glam rock which we were watching when we were twelve.

Rudi: Musically, you did something unique with OMD because you did not use entirely electronic instruments and musically, I think you are closer to LA DÜSSELDORF?

Andy: Ralf Hütter is very busy curating the legacy of KRAFTWERK… that’s fine because they are the most important influential band from the last forty years in the history of pop music, they changed the world.

It is great that the city of Düsseldorf has woken up to the fact that KRAFTWERK and other musicians changed the world and cherishing them. 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. And OMD unconsciously were combining the two, the electronic sound with the organic…

Rudi: Talking about NEU! They were not an electronic band and there are no electronic sounds of that first record…

Andy: No, it was LA DÜSSELDORF where Klaus Dinger started to add some keyboards and got pop! *laughs*

Rudi: With LA DÜSSELDORF and their songs like ‘Düsseldorf’ and ‘La Düsseldorf’, there’s a lot of Düsseldorf for one band…

Andy: Thinking about LA DÜSSELDORF and NEU! – the biggest loss to the scene is Klaus Dinger.

Rudi: Yes, after his death, people were talking about the Motorik beat and how great NEU! were… even Michael Rother said before 2004, nobody cared about NEU! but now he can make a living again from the legacy of these old records…

Andy: It’s great that people are thinking about NEU! and LA DÜSSELDORF, they should be up there with KRAFTWERK.

Rudi: People said Klaus Dinger was a difficult guy and not easy to get along with…

Andy: It’s the Van Gogh thing… you have to bloody die before people think you’re a genius!

Rudi: To me in Dusseldorf, there were like two generations, so the people in the 70s had the money to buy synthesizers and make music like LA DÜSSELDORF, and then from 1979, there was the second generation like DAF, DER PLAN and DIE KRUPPS who were in punk bands, but then got new technology like sequencers and used them in a punk rock way…

Andy: The early synth bands had the mentality of punk, but instead of playing one chord, they used one finger. To use technology was a much more interesting thing to do than just punk.

Rudi: My favourite KRAFTWERK song is ‘Showroom Dummies’, I like it because it goes on endlessly and more hypnotic, especially with the drums…

Andy: One of the things about KRAFTWERK is the drums are so tight and the sound is so rigid and hard. It was a drum sound that was completely new and alien. When OMD initially went into the studio, Paul Humphreys made an electronic kit, but it never worked very well.

So when we recorded, we had to use a real drum kit but we were so desperate to get that tight, really punchy sound, we didn’t want our drummer Malcolm Holmes to play the whole kit and have all that splashy ambient nonsense… so we made poor Malcolm play each drum individually, one at a time… that was our concession to be as tight and hard as KRAFTWERK.

So he had to put down four minutes of bass drum, then four minutes of snare, four minutes of hi-hat, but NO cymbals were allowed… that was far too rock ‘n’ roll! It led to some interesting moments because he screwed up the fill at the end of the middle eight of ‘Enola Gay’, playing it on the three, not the four!

Rudi: Do you have the luminous 12 inch of ‘Neon Lights’?

Andy: I have them all, but I don’t have a vinyl deck. ‘Neon Lights’ is possibly one of the nearest times KRAFTWERK came to combining the machine rhythm and the organic melancholic melody with vocals. It’s the closest Hütter gets to really singing, he’s not singing staccato. And that song is, after ‘Europe Endless’, my favourite song by KRAFTWERK of all time, precisely because it has that amazing juxtaposition of the contrast of the hard machinery and the beautiful melancholic melody; it makes it more romantic, because they shouldn’t fit together.

Rudi: Why didn’t you sing on OMD’s cover of ‘Neon Lights’ on ‘Sugar Tax’?

Andy: That was originally for a single that didn’t come out which I’d produced for a girl named Christine Mellor. I really liked it and wanted people to hear it. But in hindsight, it was a mistake and I should have sung it with maybe just her on the middle eight.

Rudi: KRAFTWERK have a concept and they stick to it, but don’t talk about their records…

Andy: The one thing I could not be, is that focussed, rigid and precise. I can’t stay in the intellectual moment. I like the intellectual pre-concept, but I get carried away in the emotion of it, so when I go on stage, I just lose all control… it’s a shameless madness. I just can’t stay still, I dance like a lunatic and I don’t care!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Rudi Esch and Andy McCluskey

ELECTRI_CITY The Dusseldorf School Of Electronic Music‘ELECTRI_CITY – The Düsseldorf School Of Electronic Music’ is published  by Omnibus Press on 10th August 2016

The companion ‘ELECTRI_CITY 2’ CD, double vinyl LP and download featuring many of the artists discussed in the book is released by Grönland Records on 12th August 2016

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/

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

Text and Interview transcription by Chi Ming Lai
Photos by Markus Luigs and Tom Steinseifer
4th July 2016

ELECTRI_CITY_CONFERENCE 2015

8 November 2015 /

Dance To The Future…

 Düsseldorf paid homage to its electronic music history with a three day event of lectures, discussions and live music.

The ELECTRI_CITY_CONFERENCE celebrated the work of pioneers like KRAFTWERK, DAF, RIECHMANN, NEU! and LA DÜSSELDORF, as well as reflecting the city’s worldwide influence on bands such as NEW ORDER, THE HUMAN LEAGUE, DEPECHE MODE, CABARET VOLTAIRE, VISAGE and OMD.

A year in the planning, organisers Rudi Esch and Carsten Siewert assembled an impressive line-up of artists, musicians and academics which read like a ‘Who’s Who?’ of electronic music.

Daniel Miller-Carsten SiewertIt included names such as Benge, Gabi Delgado, Ralf Dörper, Rusty Egan, Harald Grosskopf, Peter Hook, Stephen Mallinder, Andy McCluskey, Daniel Miller, Mark Reeder, Michael Rother and Martyn Ware.

Also present was Dr Uwe Schütte, whose academic conference ‘Industrielle Volksmusik for the Twenty First Century – Kraftwerk & the Birth of Electronic Music in Germany’ at Aston University helped inspire the seeting up of the event.

While there have been numerous books about Germany and in particular KRAFTWERK, few have been written by people who were actually there at the time. Esch’s own book ‘Electri_City: Elektronische Musik aus Düsseldorf’ was published in 2014 and provided a much needed eyewitness account.

It fully related the Cold War tensions within Der Bundesrepublik that inspired many young Germans into pursuing adventures in art, music and cinema as a matter of self-expression and cultural identity.

The book’s success in Germany provided much of the impetus and momentum to curate this lavish gathering of kindred spirits. The first of the special guests taking part was Peter Hook who talked to Rob Keane about German influences on the UK’s post-punk scene and in particular, JOY DIVISION.

It was Ian Curtis who first introduced the others to KRAFTWERK. After the charismatic vocalist’s passing, the surviving band members became NEW ORDER and as they became more electronic, they acquired five Prophet 5s costing £2000 each.

This had only been made possible by the posthumous success of JOY DIVISION.

“God bless him, Ian… without him, we wouldn’t have been able to afford these machines to make electronic music…” Hooky said, “what happened in NEW ORDER was as the technology developed, it enabled you to buy the machines that KRAFTWERK were using. I’d love to watch them do something, I really would. Because for all the coverage you get of KRAFTWERK, you never actually know HOW they did it!”

But despite KRAFTWERK being the pioneers of electronic music, Ralf and Florian had been so impressed by ‘Blue Monday’, they arranged to meet its engineer Michael Johnson at Britannia Row Studios where it was recorded. “They wanted to book into the studio we used…” remembered Hooky, “and they wanted to use our engineer, because they wanted their next record to sound like ‘Blue Monday’, which is most ironic because we spent years trying to sound like them!”

KRAFTWERK had a look round Britannia Row but unimpressed with the old fashioned, faded grandeur of the studio, they cancelled the session. “I took that as quite a compliment” quipped the Salford Bass Viking playfully.

Hooky also reminisced about how he was very impressed by fellow Mancunian Mark Reeder’s mastery of speaking German while on JOY DIVISION’s only visit to Berlin in 1980.

But when he asked how Reeder had become fluent so quickly, the then Factory Records representative in Germany answered: “you can learn any language when you’re starving!”

Mark Reeder himself formed part of panel discussion on the German impact of the Düsseldorf Schule to give his ‘Englishman in Berlin’ point of view. As the man often credited with introducing Italo disco to NEW ORDER, Reeder’s recent film ‘B-Movie – Lust & Sound In West Berlin 1979-1989’ captured the spirit of the divided city and highlighted how a similar document about Düsseldorf would now be quite timely.

The ELECTRI_CITY_CONFERENCE was not just about lectures and talks, but about live music too. Cologne’s EMOTIKON opened proceedings with some incongruous generic pop funk, so it was a welcome relief when HEAVEN 17 took to the stage at Zakk for the sold-out show.

Headlining their first ever concert in the German art capital, HEAVEN 17 gave one of their now famous electronically focussed sets which also featured material that had spawned from THE HUMAN LEAGUE Mk1 when Martyn Ware was a member.

Inviting him to join the band, Phil Oakey remembered how Ware turned up at his house with ‘Trans-Europe Express’ under his arm and told him “Look, we can do this!”. The song that best summed up the occasion was ‘I’m Your Money’, a synthetic train ride with multi-lingual business phrases that captured the essence of a European Union.

To follow a fine performance from HEAVEN 17, Daniel Miller’s aftershow DJ set reflected his influences and subsequent signings for Mute Records to conclude an excellent first day.

With a packed second day, Friday’s numerous academic and theoretical proceedings were concluded with a Krautrock discussion in German by a panel of veteran musicians that included one-time ASHRA member Harald Grosskopf, Michael Rother from NEU! and WALLENSTEIN’s Jürgen Dollase.

Whereas Germany has usually been associated with purer forms of electronic music, its kosmische outlook has influenced many rock and alternative bands too.

However, Dollase’s continual ranting about the joys of LSD proved tiresome and was exemplary evidence to children as to why they shouldn’t do drugs!

The panel was later opened up to questions from the audience so ELECTRICITYCLUB.CO.UK took the opportunity to ask Michael Rother about his first three solo albums.

‘Flammende Herzen’ , ‘Sterntaler’ and ‘Katzenmusik’ were produced by the late Conny Plank and featured CAN’s Jaki Liebezeit on drums. Did he have a favourite?: “I don’t really have favourites, there are individual tracks I enjoy more, it depends on mood and circumstances. It would be unfair really to have a favourite album” Herr Rother replied, “Of course, I try to highlight Conny Plank’s contribution, he was so valuable… we wouldn’t have been able to record NEU! or the second HARMONIA album or my solo albums without Conny, so he’s all over the place in my music… thank you Conny”

Opening the second evening’s musical line-up, Dublin’s TINY MAGNETIC PETS have been championed by Rusty Egan and their appearance in Düsseldorf was their first in Europe.

The trio’s main strength was their engaging lead singer Paula Gilmer, while Sean Quinn’s synth soloing was also enjoyable. But the occasional rattle of an acoustic drum kit was a distraction and the trio sounded much better when Eugene Somers took to exclusively electronic percussion.

WRANGLER, fronted by Stephen Mallinder who had lectured earlier in the day, delivered a screeching set of dystopian vibes and cold wave mechanics, demonstrating how the Düsseldorf gene has mutated into marvellous pieces such as ‘Lava Land’. Mallinder’s drowning gargoyle vocal was particularly striking within the venue’s effective stereo panning capability.

Incidentally, the trio’s incumbent synth collector extraordinaire Benge has recently relocated his MemeTune studio to rural South West of England, in an echo of Conny Plank’s legendary countryside complex which KRAFTWERK, NEU! and LA DÜSSELDORF all recorded in.

Michael Rother delivered a career spanning set of his works including NEU! evergreens like ‘Hallogallo’, ‘Neuschnee’ and ‘Seeland’.

There was also the welcome airing of material from his HARMONIA days too. Accompanied by Hans Lampe, formally of LA DÜSSELDORF, the drummer was unbelievably metronomic throughout, providing the hypnotic heartbeat to these much loved numbers. With assistance on bass and synth from a computer, the glorious symphony of ‘Karussell’ from ‘Flammende Herzen’ was a joy to behold. Watching enthusiastically in the crowd was OMD’s Andy McCluskey who remarked in passing to ELECTRICITYCLUB.CO.UK that ‘Flammende Herzen’ was the most played album on his iPod!

With another fine evening of live music over, proceedings then moved over to the famous club Dr Thompsons for the aftershow party featuring Rusty Egan.

Originally a location for a factory making floor wax, Egan’s DJ set reflected electronic music’s past and present, much to the approval of both TINY MAGNETIC PETS and METROLAND whose tunes got an airing on the dancefloor.

Day three featured SØLYST aka Thomas Klein who warmed up early attendees with an ambient percussive soundtrack that suited the time of day perfectly. Meanwhile, the Rusty Egan vs ELECTRICITYCLUB.CO.UK discussion about the influence of Düsseldorf, Berlin and Bowie on the New Romantics brought up some amusing anecdotes from his Blitz Club and VISAGE days. “KRAFTWERK was all in time!” he retorted in a fascinating and at times, hilarious chat. On DAFT PUNK, he said “The reason why DAFT PUNK wear robot helmets is cos they can’t show their faces… cos THEY STOLE EVERYTHING! But they did it brilliantly!”

The conversation even turned to THIN LIZZY’s Phil Lynott who frequented the scene and recorded the synth friendly single ‘Yellow Pearl’ co-written with Midge Ure that featured Egan on drums. Also featuring Billy Currie, Egan confirmed that it was a VISAGE song in all but name. ‘Yellow Pearl’ was heavily influenced by LA DÜSSELDORF and was to later gain iconic status as the theme music to ‘Top of the Pops’ from 1981 to 1986, showing just how far reaching the influence of German electronic music had become.

Wolfgang Flür’s now famous video messages on the world wide web have been a delight to many in electronic music circles and in his absence, a special broadcast was prepared by the former KRAFTWERK percussionist for the conference.

Following on, Andy McCluskey and Rudi Esch presented some light hearted but music fan friendly banter in what was billed as The Electri_City Show.

Discussing a variety of records Esch had brought along from his own personal collection, the OMD frontman mentioned how he was a big fan of LA DÜSSELDORF: “Thinking about LA DÜSSELDORF and NEU! – the biggest loss to the scene is Klaus Dinger”. Following his death in 2008, Klaus Dinger was hailed as a legendary drummer, having popularised the Motorik beat.

But as Michael Rother once pointed out, before 2004 nobody cared about NEU! “It’s great that people are thinking about NEU! and LA DÜSSELDORF” said McCluskey, “they should be up there with KRAFTWERK”. However as documented in Esch’s ’Electri_City_Musik_Aus_Düsseldorf’ book, Dinger was known to be a difficult character and that didn’t help his reputation. “It’s the Van Gogh thing” added McCluskey, “you have to bloody die before people think you’re a genius”

Of course, OMD combined various influences to achieve their distinctive template. But what is not often realised is that it is closer to LA DÜSSELDORF than it is to KRAFTWERK, especially on ‘Architecture & Morality’: “It is great that the city of Dusseldorf has woken up to the fact that KRAFTWERK and other musicians changed the world. 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. And OMD unconsciously were combining the two, the electronic sound with the organic…”

The Techno / Industrial panel in Deutsch fittingly included DAF’s Gabi Delgado and DIE KRUPPS’ Ralf Dörper as well as Ramon Zenker, the man behind FRAGMA.

It would be fair to say that neither sub-genre could have had its roots in any country other than Germany.

Delgado caused some amusement when he casually lit up a cigarette in the middle of the discussion, reinforcing the rebellious and confrontational aura of DAF.

During the interlude, many went to take a look at the Monster Formant modular synthesizer, owned by local enthusiast Siegfried Brückner, which was being demonstrated in the foyer. Six years in the making and featuring a gobsmacking sixteen VCOs plus many other features too numerous to mention, it was an impressive sight that looked like one of those vintage telephone exchanges.

To begin Saturday night’s live music proceedings were Zurich based combo LEN SANDER; their languid style of trip hop has become a favourite of Rusty Egan who also lists LONDON GRAMMAR among his current favourites.

They provided a cerebral build before the appearance of two of the most impressive synthesizer duos in Europe at the moment.

With the amount of equipment VILE ELECTRODES possess, they could fill Klingklang itself. Using their more streamlined European touring set-up, the Home Counties couple are now effectively adopted Germans having impressed enough during their tour of Germany supporting OMD in 2013 to land two Schallwelle Awards. Splendid new songs like ‘Pulsar Timing Array’ and ‘Stark White’ from the just released EP were evidence of their continuing progression.

With a more minimalist set-up, METROLAND were the perfect act for the weekend to honour the artistic legacy of Düsseldorf. Their second long player ‘Triadic Ballet’ was a conceptual audio installation themed around das Staatliche Bauhaus.

The perfect realisation of Walter Gropius’ theory of uniting art with technology, with a combination of crisp electronics and art school visuals, the Belgian duo gave a wonderful presentation that was appreciated by all those present including Andy McCluskey and Rusty Egan.

Closing the event, escapist trio DELTA turned out to be the most disappointing of all the bands participating, their landfill indie totally at odds with the weekend’s ethos.

Meanwhile Düsseldorf duo BAR fared much better, their synth laden dreampop augmented on occasion by singer Christina Irrgang’s use of a recorder.

However, these two acts highlighted the lack of a clear headliner to finish the weekend on a true high.

Overall though, the ELECTRI_CITY_CONFERENCE was fabulous weekend with representation from both sorcerers and apprentices of the Düsseldorf scene. With the English translation of the ’Electri_City_Musik_Aus_Düsseldorf’ book due in 2016, the story of what the city has contributed to the world can only spread further.

French icon JEAN-MICHEL JARRE said recently: “Electronic music has a family, a legacy and a future…” and there was nothing more truer than over these three days by der Rhein.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Rudi Esch and Carsten Siewert

Additional thanks to Tom Steinseifer, Roger Kamp and Tapio Normall for the use of their photos

‘Electri_City: The Dusseldorf School of Electronic Music’ is due to be published in English by Omnibus Press sometime in 2016

The ‘Electri_City – Elektronische_Musik_Aus_Düsseldorf’ compilation is released by Grönland Records.

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

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

Text by Chi Ming Lai
Photos by Chi Ming Lai except where credited
8th November 2015

ELECTRI_CITY_Conference: An Interview with Rudi Esch

3 September 2015 /
Electronische Musik Aus Düsseldorf

Mention Liverpool and the first thought is Merseybeat; Washington could be considered the Go-Go capital of the world, while Detroit is the home of Motown. And of course Nashville is the centre of Country Music. 

Folk icon Richard Thompson once joked: “In Heaven, the English greet you at the door, the French do the cooking, the Italians provide the entertainment, and the Germans organise everything. In Hell, the French greet you at the door, the English do the cooking, the Italians organize everything, and the Germans provide the entertainment!”

Yet paradoxically, Germany has provided worldwide entertainment by setting the blueprint for modern electronic music. And if you want to name its spiritual birthplace, then look no further than Düsseldorf…

Rudi Esch’s German language book ‘Electri_City – Elektronische_Musik_Aus_Düsseldorf’ documents the city’s innovative and inspiring music scene.

“Düsseldorf is the capital of electronic music” says Esch, bassist with industrial trailblazers DIE KRUPPS who also hail from the Rhineland city.

In the book, he gives an account of how the Düsseldorf electronic scene developed from 1970 to 1986 and spawned acts like LA DÜSSELDORF, DER PLAN, LIAISONS DANGEREUSES, RIECHMANN, RHEINGOLD, PROPAGANDA, DAF, NEU! and KRAFTWERK. DAVID BOWIE, IGGY POP and BRIAN ENO were among those listening.

The music became so influential that artists and producers throughout the world rethought their approaches and developed their own variations on the electronic theme. As KRAFTWERK’s Ralf Hütter put it later: “From all over the world comes inspiration. We have been very lucky, because the music we envisioned, the ideas we had of The Man Machine and electro music, have become reality and technology has developed in our direction…and electro is everywhere”

To further celebrate Düsseldorf’s contribution to the world, Esch has unveiled the ELECTRI_CITY_Conference to be held from Thursday 29th to Saturday 31st October 2015.

Held in association with Düsseldorf Congress Sport & Event, the event will take place at three locations:  CCD Congress Center, NRW-Forum and Zentrum für Aktion, Kultur und Kommunikation (ZAKK) in Düsseldorf.

The three day programme will feature lectures, discussions, concerts and DJ sets. Those taking part will include academic specialists, musicians and creative artists who were themselves part of Düsseldorf scene. There will also be international guests whose music was influenced by bands from the scene such as Rusty Egan, Peter Hook, Stephen Mallinder, Daniel Miller, Andy McCluskey and Martyn Ware while there will be live performances from HEAVEN 17, MICHAEL ROTHER, WRANGLER, VILE ELECTRODES and METROLAND.

ELECTRICITYCLUB.CO.UK had the pleasure of chatting to Rudi Esch about the ELECTRI_CITY_Conference…

What inspired you to conceive an event dedicated to the Düsseldorf music scene?

It’s partly based on the success of my book that got released eight months ago. It got overwhelming reviews and explored a different angle on my hometown. It discussed the art and music scene of the late 60s, 70s to the mid-80s with the people who created it, who built the hype. The book stands as a foundation to this legacy of the city – the ELECTRI_CITY.

The initial kick for me was attending Uwe Schüttes’ conference ‘Industrielle Volksmusik for the Twenty-First Century’ at Aston University in Birmingham. I went with Rusty Egan and we were both excited to find the first ever international academic conference on KRAFTWERK. I thought: “I have to take this to my homeland”.

What are the aims of the ELECTRI_CITY_Conference?

The ELECTRI_CITY_Conference will honour the global importance of Düsseldorf’s pop-cultural heritage. The three-day event will include lectures, panels, discussions, concerts and DJ sets. We will have a meeting point for international guests to discuss electronic music at its birthplace. We talk about the connections and interactions between experimental electronic music and synthpop, techno or electronica. Our aim will be to have a combination of an old fashioned auditorium with lectures and a mini-fair that will attract everyone from passionate music lovers to artists, to hardware manufacturers. We are just thrilled that the city of Düsseldorf is nowadays ready to host an event like this.

How did you realise as a youngster that Germany, and in particular Düsseldorf, was developing an artistic identity of its own, outside of the American influenced music that was prevalent in the country at the time?

I know today that Düsseldorf was highly influential on me and my upbringing. Without DUS, I probably would never have thought of forming a band. As a youngster, you don’t have a feeling for the characteristic features of a city.

Only by travelling to other places do you learn about your hometown. When touring with DIE KRUPPS, I was surprised about the reactions we got in Europe outside of Germany – you don’t get this at home.

For a long time we liked travelling to the UK, Scandinavia and Belgium more than playing in Germany. Nobody understood our music at home. America came as a big surprise as they were really into our music and knew about NEU! and KRAFTWERK, as well as everything Krautrock. They were and are aware of Düsseldorf, especially because of the art academy: Beuys, Lüpertz, Richter and Paik are big names – and always KRAFTWERK.

How significant was The Cold War and the presence of NATO armed forces in acting as a political and artistic driving force among the German student population?

The Cold War represented a hard cut in German culture and the post-war generation had been occupied with themselves up until the time of the Wirtschaftswunder. Light music, operettas and musicals were popular amongst the general public.

The Americans brought their leitkultur of blues based rock ’n’ roll. People listened to AFN and BFBS, and they huddled around the radio to listen to the British Top Twenty on Radio Luxembourg on a Saturday. The British also created public radio stations following the blueprint of the BBC.

But they also failed to remove some of the brown structures within higher education. This created the clash between the old ideas of the professors and the new ideas of the students, resulting in the student uprisings in the sixties. Without a doubt, students got some of the more liberal ideas from listening to the radio stations of the occupying forces and this in turn led to a cultural revolution later which laid the ground to the experimentation with new sounds in the end. The people involved in the student riots – like in Paris ’68 – were all born after WW2. They were in deep protest to their Nazi parents and didn’t accept the Allies musical dominance anymore. People like Rother and Hütter were looking for a German sound aside the Rhythm ‘n’ Blues patterns. They said they were looking for a Volksmusik for the Twenty First Century.

Berlin is also noted for its recent artistic heritage. Can you recall any rivalry with what would have been West Berlin between 1970 to 1986, or was Düsseldorf’s much noted antagonism with neighbours Cologne more prominent? 😉

I’m not sure one could call it rivalry. We were so occupied with doing our own thing that we didn’t really go out and look what was going on in other cities.

One of the reasons, besides the Art Academy, was the liberal attitude in Düsseldorf that enabled musicians and artists to concentrate on creating these new sounds.

In Düsseldorf, the art scene was integrated into daily life, unlike in other cities like Hamburg for example, and the general attitude towards people was more open. It just wasn’t possible to deviate from the norm in Berlin in those days without running the risk of getting a bloody nose! Düsseldorf gave people the freedom to express themselves, and the bourgeois were used to seeing all sorts of colourful birds in the town.

Musically, it was a perfect co-existence of the ‘Berliner Schule’ and the ‘Düsseldorf School’. Bands like TANGERINE DREAM created something with more pathos and classical attempts than the bands from DUS. Here, you always were looking for something minimalistic, modern, reduced and hypnotic.

The city spawned many acts like LA DÜSSELDORF, RIECHMANN, DER PLAN, LIAISONS DANGEREUSES, RHEINGOLD, PROPAGANDA, DAF, NEU! and KRAFTWERK. You are a member of DIE KRUPPS; but who were your own particular favourites and why?

I always loved DAF. They were a great band and had a huge impact in the early eighties. I loved DIE KRUPPS before I joined them 😉

With all the other bands, it is difficult because I know the people and it’s not easy to just only concentrate on the music. I had a band with Klaus Dinger before I joined DIE KRUPPS and I remember that I didn’t like his bands too much at the time.

Nowadays I know how great NEU! is and I think LA DÜSSELDORF did a lot for this town. I loved LIAISONS DANGEREUSES ‘Los Niños Del Parque’ and I had a soft spot for RHEINGOLD. I wasn’t a fan of KRAFTWERK at all – that changed and only shows how stupid I was as a youngster!

RIECHMANN is the tragic lost figure from the scene. What do you think he might have gone on to achieve?

Wolfgang Riechmann was so talented and was so influential on VISAGE and ULTRAVOX for example, I like to think that he would have come up with more great electronic music. ‘Wunderbar’ showcases his talent perfectly and I think he would have been a German JOHN FOXX if he hadn’t been stabbed in Düsseldorf-Altstadt in 1978.

As influential as the Düsseldorf scene was, it was not necessarily very song based. How significant do you think the British acts, who took that sound to create ‘synthpop’, have been in allowing the city’s cultural contribution to be recognised internationally?

Whooa – I think it helped a lot that OMD, HEAVEN 17, THE HUMAN LEAGUE and all the synthpop bands always referred to KRAFTWERK, or nowadays to NEU! Without the recognition in the outer world, you’re nobody at home. We learned this the hard way. Only after DIE KRUPPS had a record shelf with their name on in New York’s Tower Records did we start getting free drinks in Altstadt 😉

Who do you think have been the most ‘German’ of all the British acts who owe a debt Düsseldorf?

To me the GARY NUMAN from the late 70s is somehow very close to ‘The Man-Machine’. Or is it just me?? I also think the early Vince Clarke DEPECHE MODE are close to KRAFTWERK in presenting themselves.

I know OMD are closely connected to ‘Radioactivity’ and you can hear this in their sound and way of production. Martyn Ware told me the cover of ‘Penthouse & Pavement’ is a direct response to the Capitol ‘Trans Europe Express’ cover.

The Foxx fronted ULTRAVOX! took their name with an exclamation mark at first only because of NEU! and on and on and on … but the most German of the British acts would be ULTRAVOX, because of the three albums they produced at Conny Plank’s studio.

The ELECTRI_CITY_Conference has Andy McCluskey, Peter Hook, Rusty Egan, Martyn Ware and Stephen Mallinder as special guests from the UK. What will be their contribution to the event’s three day programme?

From 29th to 31st October 2015, our music tradition will be avidly debated with people knowing our history better than we do, and we meet at its place of origin 😉

We have lectures by Stephen Mallinder and Martyn Ware, panel talks with Daniel Miller and Michael Rother, concerts by Rother, HEAVEN 17, METROLAND and WRANGLER plus DJ sets by Rusty Egan and Daniel Miller. We will have Q&As with Peter Hook and Andy McCluskey. You can see: it’s always the bass player!!

Are there are more plans to be announced?

We are working on some more nice surprises and ELECTRICITYCLUB.CO.UK will be the first to announce these… we got something in the pipeline that would be highly attractive to all subscribers.

As you are co-hosting Rusty Egan’s appearance, you can be the one to break the news *laughs*

Your ‘Electri_City’ book has been very well received in Germany. How is the English translation coming along and when will it be published?

I will start working on the English translation after the ELECTRI_CITY_Conference as Omnibus Press is putting out the book in July or October next year. I am so happy to have a professional publishing house that specialises in music. I can’t wait to present the English edition in 2016 – “Es wird immer weiter gehen – Musik als Träger von Ideen”

The ELECTRI_CITY_Conference takes place from Thursday 29th to Saturday 31st October 2015 at various locations in Düsseldorf and features live performances from HEAVEN 17, EMOTIKON, MICHAEL ROTHER, WRANGLER, METROLAND, VILE ELECTRODES and LEN SANDER

For more information in English on the ELECTRI_CITY_Conference, programme schedule, locations and tickets, please visit: http://www.electricity-conference.com/en/

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

ELECTRI_CITY_Conference-02The English edition of ‘Electri_City – Elektronische_Musik_Aus_Düsseldorf’ is due for publication in 2016

The ‘Electri_City – Elektronische_Musik_Aus_Düsseldorf’ compilation is released by Grönland Records as a CD, vinyl LP and download

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

http://www.d-cse.de/en

Text and Interview by Chi Ming Lai
3rd September 2015

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