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LA DÜSSELDORF

La Düsseldorf

Krautrock


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silenciel@hot
4 stars This is a real good one. Closed to Neu ! 75, we have here the trio that appears on the B side, those that gave us "Hero" and "After Eight" : Klaus Dinger, Thomas Dinger and Hans Lampe. The music still quite the same, but it sounds more « clean », taking distance from the previous « punky » tendance. We also recognize the Klaus Dinger's crazy voice yellling in the air ; it's just amazing. If you've liked Neu ! 75, this one will also become a classical, even better than what have made Michael Rother in is solo carreer.

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Send comments to (BETA) | Report this review (#67564)
Posted Tuesday, January 31, 2006 | Review Permalink
Syzygy
SPECIAL COLLABORATOR
Honorary Collaborator
4 stars 4.5 stars really. Following the demise of Neu! in 1975, Michael Rother opted for a solo career while Klaus Dinger formed La Dusseldorf with the two guest musicians - Thomas Dinger and Hans Lampe - who had appeared on side 2 of Neu! 75. This fine album was their debut, and it sees them picking up where Neu! left off.

The album opens with the lengthy title track. It starts with the sound of an aeroplane landing before the familiar motorik beat kicks in, with a simple guitar motif and a Kraftwerk like synth melody woven around it. The sound is at once familiar and new; the pulsing rhythm is pure Neu!, but the multi layered vocals and the melodic twists and turns are developments that had only been hinted at on Neu! 75. It's as though we're driving through Dusseldorf on an empty autobahn in a brand new Mercedes, with the neon lights gleaming in the darkness, and it's as catchy as Kraftwerk at their best. Where Neu! would have kept to the same achingly minimal groove for the duration of the piece, La Dusseldorf speed up, slow down, play around with the melody and generally sound like they're having huge amounts of fun. Dusseldorf, the second track, has something of the punky energy that was heard on Neu! 75's Hero. It opens with a chant by the local football supporters before leading into a raw, 2 chord trawl through the sleazy underbelly of the gleaming metropolis portrayed in the first track; ' And so many Daimlers/And so many gangsters'. Silver Cloud is an instrumental that has the kind of glacial beauty more usually associated with Dinger's former bandmate Michael Rother and which showcases his keyboard skills (Klaus Dinger played all the keyboards for La Dusseldorf, but for some reason they were credited to Nicholas Van Rhein). The closing track, Time, features more multi lingual lyrics and builds up slowly on pounding drums and fat organ chords to bring the album to a fitting climax.

La Dusseldorf effectively reconciles the 2 sides of Neu! 75 and adds several new ingredients to the recipe. It's a highly effective and enjoyable album with a smoother sound than might be expected. The pared down minimalism of Neu! has been updated and infused with some downright dirty rock guitar and joyful vocals, and for the most part it works out brilliantly. Not quite a masterpiece, but strongly recommended.

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Send comments to Syzygy (BETA) | Report this review (#89806)
Posted Saturday, September 16, 2006 | Review Permalink
Neu!mann
PROG REVIEWER
4 stars After the ace Krautrock team of NEU! split in 1975, drummer/guitarist Klaus Dinger took the remnants of the band and, with only a few minor adjustments, re-emerged the following year at the wheel of a shiny new musical machine named in honor of his hometown on the river Rhine.

How's this for civic pride: a band from the city of Düsseldorf, calling itself La Düsseldorf, with a self-titled debut album on which the first two tracks (filling all of Side One on the original vinyl) are named "Düsseldorf" and "La Düsseldorf". And don't forget the lyrics, for the most part an endless repetition of the mantra "Düsseldorf...Düsseldorf...Düsseldorf...Düsseldorf...", all of it reproduced ad infinitum on the enclosed lyric sheet. It's enough to make the local chamber of commerce stand up and cheer.

Dinger was always the more hard-boiled, proto-punk half of the pioneering NEU! duo (alongside the pony-tailed hippy benevolence of MICHAEL ROTHER), and the one responsible for the band's trademark motorik beat, refined here to the acme of relentless perfection. La Düsseldorf may not have broken any new stylistic ground, but the stripped down rhythms were a breath of fresh air in an age of increasingly hyperbolic virtuoso overkill.

Check out the unique instrumentation: two drummers working in lock-step syncopation, and a lot of chiming electric guitars, with no soloing allowed. The bass player is only an occasional guest, and the sparsely utilized "synthies" (quoting the album credits) add a shimmering veil of colorful highlights.

None of the music is improvised (although you might be forgiven for thinking otherwise), and the mood is more upbeat and brighter than the typically dark counterculture excursions of most classic Krautrock, often building to an ecstatic, exhilarating climax. Lend an ear to the (first) title track, and to the album closer "Zeit" ("Time"), in which Dinger alternately whispers and wails in three languages over an escalating series of clockwork rhythms. The album even yielded a surprising hit single (in Germany): the toe-tapping instrumental "Silver Cloud", the title by the way an apt description of the music.

Two more very similar efforts would follow, each of them worth a listen, but the band's debut was the most consistent of the bunch. Newcomers may find it a tad monotonous, but don't be fooled: listening to the album is like taking a long road trip, where the journey itself is the final destination.

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Send comments to Neu!mann (BETA) | Report this review (#90914)
Posted Thursday, September 21, 2006 | Review Permalink
Mellotron Storm
PROG REVIEWER
4 stars Drummer Klaus Dinger first appeared in the public eye as a guest on KRAFTWERK's debut from 1970. He would go on to form NEU ! along with guitarist Michael Rother. After that band broke up Klaus quickly regrouped and formed a band he called LA DUSSELDORF in honour of his hometown. By now he had grown weary of drumming, so he plays the guitar on this one while his brother Thomas and Hans Lampe take care of the percussion duties. Brian Eno had this to say about Klaus : "There were three great beats in the 1970's. Fela Kuti's Afrobeat, James Brown's funk and Klaus Dinger's Motorik". Julian Cope adds "Klaus Dinger's sound was the architectural blueprint for British punk". In fact I was reminded of both Punk and New Wave on this record that was recorded in the fall of 1975 at Conny Plank's studio.The album's cover is a picture of the Dusseldorf airport at night.

"Dusseldorf" opens with a lady making an announcement in the airport as the sound of a jet takes off. Dual drums and synths take over. Vocals 2 minutes in with organ. Some power 2 1/2 minutes in. Piano before 9 1/2 minutes while synths return a minute later. A relentless beat is featured throughout. Interesting lyrics about his city of Dusseldorf : "Sharp wind, expensive real estate. Mirror and stainless steel = the corporate brand names. Today let's go to the old city. Golden bridge and pround swans". It's all in German of course. "La Dusseldorf" opens with the sounds of a crowd at a hockey game.Then an aggressive beat comes in with vocals. Very punk-like. The tempo shifts throughout.

"Silver Cloud" is an instrumental that hit the German singles chart "fulfilling Klaus' goal to push the left-field NEU ! sound into popular entertainment". It's mid- paced with a catchy beat and prominant synths. A calm arrives as this contrast continues. "Time" is laid back to open with gentle guitar and piano as psychedelic vocals come in that at times echo and whisper.The tempo picks up after 3 minutes with a great sound to follow. Electric guitar before 5 minutes is tasteful. It settles after 7 minutes as whispered vocals, synths and organ create a Psychedelic / Krautrock mood.

I was reminded of CAN, NEU ! and KRAFTWERK at times.There is something special about this album that may take a while to really appreciate.This is all about the beat man !

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Send comments to Mellotron Storm (BETA) | Report this review (#189284)
Posted Friday, November 14, 2008 | Review Permalink
Kazuhiro
PROG REVIEWER
4 stars 「It was voluntarily made. It is related to saying that the audience will react to the sound of the band very. 」In the remark of this Klaus Dinger, perhaps, he is Neu. It will have been a part necessary to pursue the music character of man who drank and had been doing music further. And, whether the flow that Klaus Dinger needed concerning music very was understood might be understood.

The above-mentioned remark remarkably showed the intention of the music at which Klaus Dinger had to aim indeed. A remark similar as for Jaki Liebezeit of "Can" was done. That is, it is partial of music that excludes the element of the extra and is done. And, it means the repeated rhythm. It will have been appearance of music that pursued the part of complete essence for Can and La Dusseldorf at this time. It is surely Neu though it developed into the opinion with Michael Rother and the difference of directionality. Details until twining La Dusseldorf will have been the proofs of the pursuit of the music that had to be aimed exactly.

It was an event that Neu recorded "Neu75" multiplied in January from December to 1975 1974. Klaus Dinger is Neu. It is said that it drinks, the part of "Pop Art" is calculated at time, and it acted.

It is guessed that the result advanced by having already thought a part of idea that should do the element that Klaus Dinger exactly thought about for the music character of the band that derives from Neu by catching.

La Dusseldorf that caught from still another angle while succeeding to the music character of Neu and challenged might have been pursued as a part of the idea refined further and the music character. It was said that Klaus Dinger had not adopted the character to be called "Motorik Sound" generically of their music characters as a result. Meaning that approaches essence of music as well as Jaki Liebezeit. Or, it is pleased repeated. They might be parts of the essence of the music of this band. The listener occasionally called it "CosmicSurfPunkBand". Or, it might have been Post Punk. These music characters also certainly had the opinion thought about as one of the elements that gave directionality to "Low" and John Lydon of David Bowie. However, Klaus Dinger might understand a complete necessity enough and challenge music. It will have been inevitable appointment because it made this music character an embodiment by as many as two people (Thomas Dinger and Hans Lampe).

"Dusseldorf" progresses to an electronic sound that flows completely in the space attended with the repeated rhythm. Music combines repeating the blissout, invariability, and the top. The melody and the chorus of peace are inevitable as the music character. However, power and the idea of the involved music have succeeded. The part of the directionality at which the band should aim is exactly included enough. An electronic sound, and repeated melody and rhythmMusic that excludes the extra and is done might be completely refined.

"La Dusseldorf" advances from shout of joy SE as complete Rock. Whether it influenced various very musicians might be understood. Cutting of refined guitar. And, the song and the chorus who includes the element of Punk. A straight rhythm and the idea might be the music for this band.

As for "Silver Cloud", the feature an electronic melody and the guitar that flows in the space. Making the sound completely refined will not be simple Rock. It might be understood to have developed the music character done with Neu further. The band has consistently established the music character. Peace and space are involved to an electronic sound with the anacatesthesia. Their music can feel the blissout in the listener. Klaus Dinger is made remarks, "How it keeps moving is important". It will accompany a mental part as essence of music. There might be a nucleus of the band in the part where essence is understood and music is caught in the sense. The tune heads from the part that flows in space for the top further attended with the transposition. The never-ending space might be splendidly created by music.

When "Time" also talks about the essence of this album, it might be an important tune. An electronic sound that slowly flows to the song with the anacatesthesia twines with the piano. The blissout and space might be completely expressed. The performance that completely understands the meaning and the directionality of the repeated rhythm and is done can be caught enough as a music character at which this band aimed.

La Dusseldorf might have influenced various musicians. And, the thought that Klaus Dinger thinks about appears in the music character of this band.

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Send comments to Kazuhiro (BETA) | Report this review (#258171)
Posted Monday, December 28, 2009 | Review Permalink
thellama73
COLLABORATOR
Eclectic Prog Team
4 stars This is a wonderful record, very much in the spirit of NEU! Klaus Dinger continues his fascination with gently pulsing, hypnotic rhythms that feel like a long drive in the country, even if the title track is concerned with the city. La Dusseldorf is more focused than NEU! in that on the latter band's albums we would get one gem like Fur Immer or Hallogallo and spend the rest of record wishing for more. Here, Dinger seems to have realized what his strengths are and honed in on them, giving us a mere four tracks (although the second song is really just an extension of the first) which are extremely satisfying.

Synthesizers are more prominent, largely due to Dinger's boredom with the drum kit and desire to focus his energies elsewhere. This fattens up the sound of the group, given the music a fullness and warmth that NEU! never had. It almost reminds me of Cluster, although not quite as syrupy. The highlight as far as I'm concerned is the album closer "Time." The lyrics begin with a defiant proclamation of the word "time" in various languages, and then proceeds into some lighthearted German punning (if you know even minimal German, as I do, you'll get the joke.) The music is the usual Motorik chugging, pleasant and hypnotic, reflecting the songs title in both its length and the trance like state it induces. Suffice it to say that La Dusseldorf have a much more positive view of the concept of time than Tangerine Dream did when they made "Zeit."

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Send comments to thellama73 (BETA) | Report this review (#267609)
Posted Tuesday, February 23, 2010 | Review Permalink
4 stars It beats me why I find this more appealing than 'Neu'. Both are similar, that's beyond doubt. This just seems to have a bit more life and enthusiasm about it and the vocals are a welcome addition, particularly during the first 13 minute track where Klaus Dinger sings his abbreviated lyrics quite nicely. Although, the only lyric present appears to be 'Düsseldorf'.

The motoric, repetitive drums are still present, but I'm far happier listening to this than 'Neu'. Maybe its the Brian Eno 'Taking Tiger Mountain' type of synths?

This album sounds less dated and more exuberant than most Kraut albums from the same period, probably due to the robotic drums and tastefully used guitars.

Take away the drums and this would sound very much like 'Harmonia'. Recommended to fans of Bowie's Berlin trilogy.

Very Germanic and surprisingly uplifting.

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Send comments to Dobermensch (BETA) | Report this review (#407123)
Posted Thursday, February 24, 2011 | Review Permalink
4 stars After the spread of Neu! in 1975, Klaus Dinger embarks on an audacious project that bears the name of his hometown.

In this particular project he also counts on the participation of the other two members who played on the third disc of Neu!, Thomas Dinger and Hans Lampe. Here, we dosen´t have the drummer Klaus Dinger, but a great guitar player to my big surprise. The percussions are responsible for his brother Thomas Dinger and Hans Lampe. It is a real manipulation of sounds, through typical krautrock of the time with a chilling noise and punk atmosphere.

Some critics said that Klaus Dinger was the embryo of the British punk. Just rumors, do not know if it's real truth. Still, it's an excellent record starring one of the biggest names of Krautrock scene.

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Send comments to Luciana Aun (BETA) | Report this review (#1077339)
Posted Friday, November 15, 2013 | Review Permalink

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