ARTIST...: VA
TITLE....: Magnetband Experimenteller Elektronik Underground DDR 1984-1987
YEAR.....: 2017
LABEL....: Bureau B
CAT.NO...: BB253
GENRE....: Electronic
TIME.....: 43:04
SIZE.....: 98,84 MB
QUALITY..: 320kbps/44,1kHz/Joint Stereo
ENCODER..: LAME
SOURCE...: WEB
RLS.DATE.: 2017/02/15
WEBSITE..: https://play.google.com
TRACKLIST
01) (02:37) A.F. Moebius░-░Erika
02) (02:49) Kriminelle Tanzkapelle░-░Klatschmohn
03) (01:35) Heinz & Franz░-░Immer
04) (02:33) Magdalena Keibel Combo░-░Er Hat's Geschafft
05) (01:33) Choo Choo Flame░-░Nein
06) (05:12) Stoffwechsel░-░Fly, Fliege, Fly
07) (03:23) Corp Cruid░-░37░C
08) (01:01) Taymur Streng, Ornament & Verbrechen░-░Das Sentimentale Ufo
09) (02:36) Der Demokratische Konsum░-░Die Kuh
10) (01:45) A.F. Moebius░-░Boeser Traum
11) (02:30) Gesichter░-░SK 8 Gesichter
12) (04:05) Ihr Arschloecher░-░Urtramp
13) (02:26) Aponeuron░-░Jab Gab Hej
14) (08:59) Robert Linke░-░Musik Zum Weltuntergang
Inspired by Punk and Post Punk, vibrant scenes dedicated to
independent self-actualisation by means of sound circulated on selfdistributed
cassettes, then the cheapest and fastest medium, were
developing on each side of the Cold War's confrontational line. Albeit
under quite different circumstances. While there was a DIY euphoria
in the West, which would also have had ideological motives,
subcultures in the East simply had no other means at their disposal.
Even the first act of replication meant moving into illegal territory,
since every duplication was strictly sanctioned and had to be
authorised by state authorities. Just like anything else, whether in
print or where live shows were concerned.
The protagonists û musicians, painters, poets, filmmakers,
performersà (often all at once) û were openly and unbiased crossing
genres and jumping back and forth between various styles, having
already taken their internal leave from state and society as they had
done externally anyway. Disillusioned, and often ready to jump
towards the West, these border crossers defined themselves rather
somewhere between non- and anti-political, pursuing selfactualisation
strategies by means of an extended niche existence.
They took refuge in the search for ways of creative self-assertion and
communication, looking out in sensual despair, utilising sounds of
rage, linguistic wit and a passion for tinkering. Driven by ubiquitous
boredom, equipped with plenty of time and free of economic restraints
(or rather possibilities), labour was performed with no regard to the
final product, hardly documented and almost never published. With
the partial opening of state controlled media and cultural sites
accompanying the beginning agony of the State, conditions changed.
Suddenly there was radio airplay of supposedly illegal cassettes, and
weird noise performed at Palast der Republik, in the end, even full
albums by these so-called ôother bandsö were released on the stateowned
label AMIGA. The collapse following soon after relieved the
activists remaining in the country of the quandary of continually
having to re-position themselves. Many took different roads, some
leading to Rammstein, others to Raster-Noton or groups like To
Rococo Rot and Tarwater.
The artefacts from that era tell of a stance of refusal in practice, and
of the possibility to charge up on a high level, in spite of everything.
Between being excluded and self-exclusion, truly wayward (twice
literally) sounds and means of expression were developed.
ôCongruent with the absurdity of real existenceö, as lyricist and scene
node Bert Papenfuss put it. Papenfuss, together with Ronald Lippok,
Bernd Jestram and Bo Kondren, themselves active musicians then
and now, compiled two companion CDs accompanying the long soldout
Zonic special edition ôSpannung. Leistung. Widerstand.
Magnetbanduntergrund DDR 1979-1990ö, released by Verbrecher
Verlag/ZickZack in 2006, of which the more experimental-electronic
pieces are herewith available on the music market for the first time.
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