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LA DÜSSELDORF

Krautrock • Germany


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La Düsseldorf biography
La Düsseldorf is Klaus Dinger's side project after the scission of Neu! in 1975. In this musical adventure, Dinger is accompanied by Thomas Dinger and Hans Lampe who also participated to the recording of the third and last Neu! The self titled album "La Dusseldorf" was released in 1976, venturing from avant-garde for concrete noises, manipulated sounds, pre-punk atmospheres. This album has a total disregard for musical convention, the musicians don't hesitate to mix without restriction a bunch of sounds taken from a great variety of musical styles (with pop accents, motoric "electronic" pulses, krautrock weird instrumentals and punk's eccentricity). After this original and diverse collection of experiments, the band recorded their second "Viva" in 1978. A political musical act against capitalism which comes directly during the classic years of punk music. However this album remains progressive with achieved synth instrumentations and insitent electronic beat in the genre of Kraftwerk. Only the voice and the distorted "dirty" guitars remind us the anger and "primitive" sound of Punk music. In their last "Individuellos" (1980) the atmosphere is more relaxing than in the two first and delivers a few "sensitive" ambient soundscapes next to abstract & rhythmical "electronic" rock. After this creative musical experience, Thomas Dinger has made an excursion in solo with Für mich.. Klaus Dinger and his Dingerland (the name given to his personal label) carry on the way written by La Düsseldorf for the publication of several projects, among others the album "Neondian" or the recent La! Neu? recordings (a musical hybrid between Neu! and La Düsseldorf for long synth / post rock sessions).

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LA DÜSSELDORF top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.95 | 42 ratings
La Düsseldorf
1976
3.35 | 16 ratings
Viva
1978
3.00 | 2 ratings
Individuellos
1980

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LA DÜSSELDORF Reviews


Showing last 10 reviews only
 Viva by LA DÜSSELDORF album cover Studio Album, 1978
3.35 | 16 ratings

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Viva
La Düsseldorf Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars It wasn't easy getting back into the groove at work after the Christmas holidays, and add on top of that that we've been taking a beating from Winter with the buses cancelled two of the five days and even closing the schools one day which hasn't happened in 40 years. My soundtrack for last week was the joyous and uplifting "Viva" from LA DUSSELDORF which certainly helped my mood. Klaus Dinger along with his brother Thomas and Hans Lampe all played on NEU !'s final studio album and so yes there is that NEU ! flavour to be found here and on the debut. I should also mention that Lampe did play with A.R. & MACHINES on percussion.

It's interesting that everywhere I look where albums are rated, the debut and "Viva" are always close in those ratings except on this site for some reason where the debut is rated much higher. I'm not sure why as I also feel both are "must haves" and similar in style and quality. This is all about the motorik beat, synths and vocals. This has been a pleasure.

"Viva" opens with a sample then the vocals and music kick in quickly. This is a short 2 1/2 minute track where the band just seems to be having too much fun. Sounds like clapping and i'm sure a lot of dancing in the studio on this one. "White Overalls" is another short one and from the pictures of the guys i've seen, white overalls were part of their "look". This one is more uptempo than the title track and it's hard not to be moving some part of my body during this joyous song. "Rheinita" opens with electronics and almost opera-like vocals that end with them echoing. The beat with synths takes over before a minute. Man this sounds so good. Relaxed but upbeat if that makes any sense. Piano to the fore after 3 minutes as it settless then it all kicks back into that fuller sound. Just a killer instrumental clocking in at over 7 1/2 minutes. The beat stops late as atmosphere ends it.

"Vogel" is less than 1 1/2 minutes of birds singing. Yes it's very calming. "Geld" is more powerful once it kicks into gear with vocals. Catchy stuff. "Cha Cha 2000" is the side long closer at almost 20 minutes and it's live. I understand they would play this live in concerts and it would go on for much longer than the 20 minute version we have here. This is a vocal track and it's the highlight of this recording in my opinion. Yes this is such a joy to listen to and even the crowd seems to be having too much fun.

The music of LA DUSSELDORF is a must for NEU ! fans or anyone into that motorik beat. A solid 4 stars.

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 La Düsseldorf by LA DÜSSELDORF album cover Studio Album, 1976
3.95 | 42 ratings

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La Düsseldorf
La Düsseldorf Krautrock

Review by Luciana Aun

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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 La Düsseldorf by LA DÜSSELDORF album cover Studio Album, 1976
3.95 | 42 ratings

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La Düsseldorf
La Düsseldorf Krautrock

Review by Dobermensch

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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 La Düsseldorf by LA DÜSSELDORF album cover Studio Album, 1976
3.95 | 42 ratings

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La Düsseldorf
La Düsseldorf Krautrock

Review by 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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 Viva by LA DÜSSELDORF album cover Studio Album, 1978
3.35 | 16 ratings

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Viva
La Düsseldorf Krautrock

Review by Kazuhiro
Prog Reviewer

3 stars The idea of the existence of La Dusseldorf and the music character will have been bands in the band from Germany activity in the early the 70's and a variety of with an indeed peculiar constitution. The idea of Klaus Dinger from Kraftwerk to Neu might be indeed advanced attended with the major break.

There might certainly have been a dissension by the member in the part besides the music character of Neu. However, the grasp of the music character that had to be aimed indeed might have suited the theory that Klaus Dinger had thought about enough. He had appointed the word that was called "Apache Beat" partially of the music character of this band. It appears remarkably exactly in the sound of the band.

The music character of La Dusseldorf will have been opening of the sense exactly. Music that pushes only the part completely refined while following the method of the music character done with Neu out forward is expressed in the album as a part where La Dusseldorf reached. Respect where decorated part is given to the directionality of 1st Album might be able to be felt in this album. And, the united directionality is carried out as music of the band.

The diversity of the sound might be introduced enough in this album. The sound that there is diversity on the nucleus of the band that has been completely established while excluding the part of the extra is introduced and the performed tune feels wide further. The part of the individuality that the member pooled for the music character done with Neu might naturally advanced to what should be of each thought music in a sense. And, the existence of La Dusseldorf would have been opening of zeal and the idea as one shape that Klaus Dinger reaches.

"Viva" starts accompanied by a complete song and the chorus. Apache Beat that Klaus Dinger advocated completely contributes to the tune. Rhythm repeatedly done. And, feelings are opened. The construction of the piled sound creates complete space.

As for "White Overalls", the element of Punk Rock might be a little strong. Beauty and destruction are involved to the guitar and the song in close relation to a piano melody. An advanced sense shows the originality of this band as original Rock.

As for "Rheinita", the piano twines round a steady rhythm with the sound of the keyboard. The flow that the sound produced with the nature of humankind everywhere while introducing an electronic sound is felt might be splendid. The sound and the rhythm of a gentle keyboard that feels peace completely have originality. The performance done while having always reached the peak and submitting the melody might be continuous of the sense. I might feel the state of the nature of humankind, feelings, and the limit. It might contain a very dangerous blissout in a good meaning.

"Vogel" contains the part of SE and advances. I might feel the part where the sense of nature and bird's cry were appointed different as a composition of the album. However, the listener will be able to feel music that they regarded by this SE and man's essences. Daily life, Usually.It is order and disorder. It is guessed that essence and an artificial part are expressed by this SE.

"Geld" starts from the sound of the shining keyboard. And, it rushes into the part of Rock attended with the sound of an intense guitar. Their music characters and ideas might have been completely established. Feelings are opened as a refined performance. The sound of the keyboard of Apache Beat that puts and shines twines well. Twining of the sound has originality though this tune has the element of Punk a little.

"Cha Cha 2000" might be one result of blocking the thought of Klaus Dinger. It is known well for the listener as a highlight of this album. The zeal of the band that tries to exceed the region of Rock completely might be blocked. The repeated melody progresses attended with peace. The song is originated in the complete sense. Repeated rhythm and melody advance consistently. The part of music and man's essences might be splendidly expressed. Their music might always be done from the state in the top. The tune has the part where the flow is interrupted on the way. The piano is does a float in the space and advances. The melody repeated before long gradually attended with the dash feeling is accompanied. The tune completely gives the listener one establishment on the top. It is a tune that involves a beautiful part and the part of the limit.

In this album, the thought of expressed Klaus Dinger might have accomplished one establishment from another angle as a music character refined from the music character that had been done with Neu further.

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 La Düsseldorf by LA DÜSSELDORF album cover Studio Album, 1976
3.95 | 42 ratings

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La Düsseldorf
La Düsseldorf Krautrock

Review by 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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 Viva by LA DÜSSELDORF album cover Studio Album, 1978
3.35 | 16 ratings

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Viva
La Düsseldorf Krautrock

Review by BeeJayMelb

4 stars White overalls, shouty vocals, synths, deutsche back-beat percussion, love and money, a proud working-class DIY ethic --- Klaus Dinger returns with the second La Dusseldorf album. Those who followed his musical autobahn from the first Neu! album will find much to recognise and enjoy here.

'Viva' is a stomping opener; 'White Overalls' a strident, funny, dumb and exhilarating romp that could have been a great lost punk single. In fact the single was Rheinita, a reflective and melodic river journey throught the urban-nature interface; it's terrific. 'Vogel' is indeed a short interlude of bird songs before the fabulously angry and infectious groove of 'Geld'. The final track, 'Cha Cha 2000', was the whole of the original side two and has two voices, the familiar and much-loved industrial auto-groove followed by a reflective and delicate piano part which, though pretty, does mean that the album finds a more pastoral energy when fans might have preferred a whole side of La Dusseldorf crashing into a disused factory.

Overall, a solid album and a great testament to the 'raise a finger' attitude of Klaus Dinger ? an attitude that never obscured his romantic yearings.

RATING ? Vision & Innovation: 24/30; Playing & Composition: 22/30; Listener Enjoyment: 26/30; X-factor [Cover, Motorik adjectives, Reviewer bias] 8/10. Total: 80/100 -> 4 Stars.

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 La Düsseldorf by LA DÜSSELDORF album cover Studio Album, 1976
3.95 | 42 ratings

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La Düsseldorf
La Düsseldorf Krautrock

Review by 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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 La Düsseldorf by LA DÜSSELDORF album cover Studio Album, 1976
3.95 | 42 ratings

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La Düsseldorf
La Düsseldorf Krautrock

Review by 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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 Viva by LA DÜSSELDORF album cover Studio Album, 1978
3.35 | 16 ratings

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Viva
La Düsseldorf Krautrock

Review by Neu!mann
Prog Reviewer

3 stars The band La Düsseldorf (from, as you might have guessed, the city of Düsseldorf) stands in relation to its parent group NEU! like a sleek, newer model of a vintage roadster, fresh off the assembly lines in 1976. This was the sophomore effort for Klaus Dinger and company, not as strong as their self-titled debut but still another minor gem from the less traveled corners of late '70s Krautrock

Fans of NEU! will immediately recognize the automotive 4/4 beat, the ringing guitars and gentle washes of keyboard, and of course the home-made cut-and-paste cover art, a Dinger specialty years before it became a New Wave cliché. But it's a more haphazard collection of songs this time around, sounding in places not unlike outtakes from the earlier album, patched quickly together but presented with confidence and more than a little post-punk gusto.

The title track opens the album with a fuzzed-out, foot-stomping anthem, followed immediately by the equally energetic thrash of "White Overalls", a tribute to the band's stylish new uniforms. Or would it be crass to read a deeper Teutonic subtext into the title, translating "overalls" as "über alles"?

A few shorter numbers lead to the album's obvious highlight: the epic 20+ minute "Cha- Cha 2000", on the original vinyl filling all of Side Two. In true Krautrock fashion it's a schizophrenic beast: one half quintessential motorik adrenalin rush, the other half a dreamlike lullaby played on a solo piano. "The future is calling", chants Dinger throughout, and here it is: a celebration of soon-to-be modern times in pre-unification Germany, made from equal parts sleek, shiny chrome and infectious optimism.

Sample lyric: "We need better leaders, who love us and don't cheat us". Not exactly poetry, but refreshing stuff from a musician who in the past wore a punk rock sneer every bit as Vicious as Sid's. And believe it or not the words even rhyme (sort of).

The year 2000 may already be a distant memory, but the song (and the sentiment) is still ahead of its time. As was the band itself: one of the more forward-thinking outfits from an always innovative musical culture.

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Thanks to Philippe Blache for the artist addition.

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