Meanwhile over in Sheffield UK the worldchampionship snooker reached the quarterfinal state, of the top 7 seated players just # 2 is left. It could be an all Chinese final this year Ding already dispatched former worldchampion Williams with 13-2 and Fu is making mincemeat of his opponent 7-1 thusfar, looks like they've ingested a wonder drug which sees the pickets like lasers and steady the hands, some amazing potting by these guys, when in the past nerves often took the better of them. Viewing figures in China will rocket for the semis, that's for sure.
Today an influential German electropunk/Neue Deutsche Welle band from Düsseldorf, formed in 1978 featuring Gabriel "Gabi" Delgado-López (vocals), Robert Görl (drums, percussion, electronic instruments), Kurt "Pyrolator" Dahlke (electronic instruments), Michael Kemner (bass-guitar) and Wolfgang Spelmans (guitar). Kurt Dahlke was replaced by Chrislo Haas (electronic instruments, bass guitar, saxophone) in 1979. Since 1981, the band has consisted of Delgado-López and Görl.
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Deutsch Amerikansiche Freundschaft ("German American Friendship"; most commonly abbreviated to D.A.F.) was founded as a five-piece industrial noise outfit in Düsseldorf in 1978, but ultimately winnowed down to a two-man group consisting of vocalist/lyricist Gabi Delgado and drummer/electronic musician Robert Görl. Their early development is linked to the Düsseldorf based group Der Plan, whose members all played in D.A.F. on its first album, Ein Produkt der DAF, minus Delgado, then a member but absent for these recording sessions. Released on the German AtaTak label in 1979 and later re-issued on Mute, Ein Produkt der D.A.F. heralded the beginning of the German branch of industrial music: the first recordings by Einstürzende Neubauten, made two years later, bear a striking resemblance to it.
By the time Ein Produkt der DAF made its bow, Delgado and Robert Görl had already decided to split off from the larger group, which re-formed as Der Plan without them. For a time, Delgado sang and played near-atonal guitar while Görl played drums and synthesizer, and a gig of this type held in 1979 at the Electric Ballroom in London takes up the second side of their debut LP on Mute, Die Kleinen und die Bösen ("The Small Ones and the Evil Ones.") The first side consists of a studio recording, the last session made by the larger D.A.F. and produced by Conny Planck, who would have a significant impact on their sound in subsequent projects. The anger and ferocity of Die Kleinen und die Bösen was remarkable even in the midst of punk -- German icons were viciously sent up, such as in their rabid cover of "Ich Bin die Fesche Lola" (one of Marlene Dietrich's fetching songs from The Blue Angel). "Die Lüstigen Stiefel Marschiren über Polen," ("The Funny Little Boots Are Marching over Poland') was an angry and hard yet tongue in cheek, atonal disco song about the invasion of Poland by the Nazis; such material was deliberately calculated as offensive in the politically liberal, historically humiliated, terrorist-plagued society current in Germany circa 1980.
By 1980, D.A.F. had settled in London and Delgado had permanently retired his guitar; they signed with Virgin Records who sent them back to Planck to produce their masterpiece Alles Ist Gut, which exploded in the rock underground in the middle of 1981. D.A.F. had narrowed its instrumentation down to just Delgado's voice, Görl's monolithic drums, and a 16-voice sequencer that put out a single repeating pattern for whole songs; in doing so, they had moved out of art-punk and into what they called "Electronic Body Music" or EBM. Planck's crisp production, in addition to some subtle, well-placed effects, produced in Alles Ist Gut an electronic dance album that was state-of-the-art in 1981; "Der Mussolini" became an international hit and a monster in the dance clubs. Delgado's lyrics, equating fascism, religion and dance music, were edgy, his singing both macho and raw. Görl's drumming and sequencing was unrelenting in its funkiness, authority and experimentalism -- though outwardly professing themselves as "apolitical" (nonsense!), D.A.F. were reclaiming Nazi-styled jingoism for the gay German disco clubs, complete with a marching boot beat -- it was politically "wrong," yet irresistible.
Despite their innovations, solid technical ability and raves from the critics, D.A.F. were certainly never ready for prime time. When other artists in the club genre were dancing around the issue of alternative sexuality, D.A.F. was fairly "out" about it -- their album covers were blatantly homoerotic and lyrics often dealt with sadomasochism. While D.A.F.'s big, industrial-inspired dance sound certainly had some measure of commercial potential, the group didn't, and they were way ahead of their time -- too far ahead. Gold und Liebe followed, much in the vein of Alles Ist Gut, though offering some further refinements in terms of sound and style. Some critics argue that Gold und Liebe represents D.A.F.'s "personal best," though Alles Ist Gut is such a defining statement in retrospect it would seem hard to top. With 1982s Gold und Liebe, D.A.F. decided to disband amicably, as the sequencer they used proved too limited to sustain them artistically beyond what they had already done.
For a time, both Delgado and Görl pursued solo careers, which proved a mixed blessing; Görl's weak singing sank his best efforts, whereas Delgado's lone solo outing suffered from equally weak musicianship. In 1985, they temporarily re-formed to record another album of house music, this time in English, 1st Step to Heaven, which disappeared without much fanfare. Although Görl and Delgado kept the door open for more collaboration the opportunity did not arise until 2003, when they recorded "15 Neue D.A.F. Lieder" including "The Sheriff," an anti-George W. Bush song. D.A.F. also played a limited number of festivals in Germany that year, mostly to the embarrassment of the other acts on the festival bill, so intense and timely their performances were. Unfortunately, this did not lead to a full-scale reunion, and in early 2007, Delgado declined to join the group for another round of dates. Delgado was replaced, with his blessing, by another singer, and the band renamed D.A.F. Partei.
Though their impact on the emergent forms of house and techno was huge, D.A.F. has never achieved the recognition they so richly deserve. Nevertheless, for the longest time even Kraftwerk weren't recognized for their contribution to hip-hop, and perhaps ultimately D.A.F. will get their due: they represent one of a very few direct links between avant-garde punk and techno, and flung their lance into the future farther even than Throbbing Gristle.
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Ein Produkt der Deutsch-Amerikanischen Freundschaft (A Product of German-American Friendship) is the first album by the German electronic music group Deutsch Amerikanische Freundschaft. It was the second release, and first album, on Kurt Dahlke's Ata Tak label (then called Warning) in 1979. The album consists of 22 untitled instrumental experimental pieces, in styles from punk rock to industrial music, simultaneously repellent and compelling. Singer Gabi Delgado had temporarily left the band after early recordings had not worked out, so the other members recorded the album as instrumentals between February and April 1979. Members on the recording were Kurt Dahlke (keyboards), Robert Görl (drums), Michael Kemner (bass) and Wolfgang Spelman (guitar). Shortly after the album's release, Dahlke left D.A.F. to pursue personal projects (Pyrolator). He was replaced by Chrislo Haas. The album was reissued on Mute Records in 1999 and on Bureau B/Ata Tak in 2012.
Deutsch Amerikanische Freundschaft - Produkt Der Deutsch-Amerikanischen Freundschaft (flac 210mb)
01 Bild Nr. 01 0:44
02 Bild Nr. 02 1:03
03 Bild Nr. 03 0:19
04 Bild Nr. 04 2:35
05 Bild Nr. 05 1:07
06 Bild Nr. 06 0:45
07 Bild Nr. 07 0:43
08 Bild Nr. 08 1:48
09 Bild Nr. 09 0:55
10 Bild Nr. 10 3:17
11 Bild Nr. 11 1:01
12 Bild Nr. 12 1:20
13 Bild Nr. 13 0:36
14 Bild Nr. 14 1:41
15 Bild Nr. 15 0:25
16 Bild Nr. 16 1:47
17 Bild Nr. 17 1:24
18 Bild Nr. 18 2:08
19 Bild Nr. 19 1:32
20 Bild Nr. 20 1:13
21 Bild Nr. 21 0:31
22 Bild Nr. 22 3:07
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After the near-apocalyptic shrieks of Ein Produkt, DAF toned down just a touch, but only just, for Kleinen und die Bösen. Coming out on Mute as the album did, it helped not merely in establishing the group's cachet, but the label's and, in turn, the whole genre of experimental electronic music in the '80s and beyond. The cover art alone, with the group's name boldly printed white-on-black in all capitals, next to part of a Soviet propaganda poster, practically invented a rapidly overused industrial music design cliché. At the time, though, the group was ironically the most rock they would ever get, with bassist Chrislo Haas and guitarist W. Spelmans joining Robert Görl and Gabi Delgado (aka Gabi Delgado-Lopez). The first half of Kleinen was a studio recording with Krautrock-producing legend Conrad Plank, who did his usual fantastic job throughout. The beats are sometimes hollow and always ominous, treated with studio touches to make them even more so, while the squalling, clipped guitar sounds often make nails-on-chalkboards sound sweet in comparison. Delgado's husky vocals and Görl's spare-but-every-hit-counts drumming on "Osten Währt Am Längsten" are particularly strong, while the electronic rhythms of "Co Co Pino" (Delgado's vocal trills are a scream) and all-out slam of "Nacht Arbeit" can't be resisted. The live side, recorded at London's Electric Ballroom, is even more all-out most of the time, starting with the complete noise fest "Gewalt," and then shifting into a series of short, brusque tracks. Delgado pulls off some blood-curdling screams (and Görl some fairly nutty harmonies as well -- check the opening to "Das Ist Liebe") over the din. The musicians themselves sound like they decided to borrow Wire's sense of quick songs while cranking the amps to ten; the resultant combination of feedback crunch and electronic brutality is, at times, awesome to behold.
Deutsch Amerikanische Freundschaft - Die Kleinen Und Die Bösen (flac 219mb)
01 Osten Währt Am Längsten 5:45
02 Essen Dann Schlafen 1:06
03 Co Co Pino 3:25
04 Kinderfunk 3:02
05 Nacht Arbeit 1:53
06 Ich Gebe Dir Ein Stück Von Mir 1:41
07 De Panne 2:34
08 Gewalt 1:24
09 Gib's Mir 1:01
10 Auf Wiedersehen 2:03
11 Das Ist Liebe 1:18
12 Was Ist Eine Welle 1:15
13 Anzufassen Und Anzufassen 1:44
14 Volkstanz 0:48
15 Die Lustigen Stiefel 1:49
16 Die Kleinen Und Die Bösen 1:05
17 Die Fesche Lola 1:41
18 El Basilon 2:52
19 Y La Gracia 2:03
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Stripped down to the core duo of Robert Görl and Gabi Delgado and with Conny Plank again behind the boards with crisp, focused production, with Alles Ist Gut (Everything Is Fine) DAF turned into an honest-to-goodness German hit machine, as detailed in the 1998 Mute reissue's liner notes by Biba Kopf. Even more important and impressive was how they did it -- keeping the electronic brutality that characterized them, but stripped down to nothing but Görl's massive drumming, electronic bass and synth tones, and Delgado's deep, commanding singing. The result was and remains massively influential -- Nitzer Ebb, to mention one later industrial disciple, would be nothing without this album as a template, while the genre of electronic body music, or EBM, got its undisputed start with the doom-laden death disco here. It isn't all just because of machines and politics, either. Delgado's lyrical fascination seems to be as much with sex as with power, thus the grunting sounds throughout "Mein Herz Macht Bum" (My Heart Goes Boom), to pick one point. Add to that the striking, simple cover design -- Delgado on the front, Görl on the back, stripped to the skin and covered in sweat -- and maybe Wax Trax never needed to exist in the first place. "Der Mussolini," DAF's breakthrough hit, still sounds fantastic years later. A perfect case could be made for it as the ultimate industrial music song, with Delgado's at once insistent and sensual singing, lyrics referencing not just Mussolini but any number of fascist figures (as titles of dance crazes, no less!), and Görl's astonishing percussion crunch and bassline. DAF wisely vary things at points, thus the slow, deliberate pulse of "Rote Lippen" or the twinkly keyboard line throughout "Der Räuber und der Prinz." With songs like "Als Wär's das Letzte Mal" and "Alle Gegen Alle" leading the way, though, DAF mainly concentrate on head-on assaults to brilliant effect.
D.A.F. - Alles Ist Gut (flac 211mb)
01 Sato-Sato (Sato-Sato) 2:49
02 Der Mussolini (The Mussolini) 3:54
03 Rote Lippen (Red Lips) 2:42
04 Mein Herz Macht Bum (My Heart Goes Boom) 4:28
05 Der Räuber Und Der Prinz (The Robber And The Prince) 3:29
06 Ich Und Die Wirklichkeit (Me And Reality) 3:05
07 Als Wär's Das Letzte Mal (As If It Were The Last Time) 3:23
08 Verlier Nicht Den Kopf (Don't Lose Your Head) 3:17
09 Alle Gegen Alle (Everybody Fights Everybody) 3:56
10 Alles Ist Gut (Everything Is Good) 3:26
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