Hello, Donald did it again, another opponent falls, Ted Cruz is gone after clearly loosing at the Indiana primary. In his victory speech he was already reaching out to his republican opponents in the party, meanwhile dishing out (empty) promises. At the democrates side a surprise win for Sanders and i predict a lot of his voters could go to Trump because of his clear stance on trade deals which hit home hard in their electorate. Chances of a president Trump have greatly risen today...
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.
...N'Joy
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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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Plank again oversees an album from the duo, while the photo on the front of Görl and Delgado in what looks like modified bondage gear maintains the sex theme well enough. Put it all together with song titles like "Sex Unter Wasser" (Sex Underwater) and "Absolute Körperkontrolle" (Absolute Body Control) and D.A.F. are tending that much more to the flesh rather than the mind. Things are just a touch less powerful than on Alles Ist Gut; opening track "Liebe auf den Ersten Blick" has a bass/melody combination that could almost be early Depeche Mode. Most of the time, though, it's only a slight difference by degrees, as pounding monsters like "Ich Will" and the instrumental build of "Absolute Körperkontrolle" demonstrate. Görl's music generally still relies on his forceful percussion and sharp, cutting synth bass in combination, and Plank once again makes it sound fantastic. Additional touches surface throughout, and if Gold und Liebe isn't as immediately varied as Alles was, the subtler elements do provide variety. There's almost a lounge feeling to the vibey keyboards on "Sex Unter Wasser," while the rough military drumming on "Muskel" suits the song perfectly. Accordingly, one of the best songs has one of the best fusions -- "Goldenes Spielzeug," with a soft, chime/keyboard melody over a tough bass/drum beat, singing appearing only every so often during its length. Delgado himself, however sex-obsessed he might be this time out, still makes a strong frontman -- certainly, if you don't know German, you can just pretend he's ordering everyone to the dancefloor under pain of death or something similar. Gold closes out on a fantastic note with "Verschwende Deine Jugend," a full-on destructive beast in the "Der Mussolini" mode, and "Greif Nach den Sternen," a steady-paced, almost anthemic number with the trademark D.A.F. blend of brusqueness still intact.
D.A.F. - Gold Und Liebe (flac 184mb)
01 Liebe Auf Den Ersten Blick 3:58
02 El Que 3:33
03 Sex Unter Wasser 3:04
04 Was Ziehst Du An Heute Nacht 3:46
05 Goldenes Spielzeug 3:56
06 Ich Will 3:19
07 Muskel 3:23
08 Absolute Körperkontrolle 3:12
09 Verschwende Deine Jugend 3:48
10 Greif Nach Den Sternen 3:41
(ogg mb)
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In 1982, DAF (Deutsch Amerikanische Freundschaft) released Für Immer, their third album in the space of a year and half, then promptly split up when it tanked. But despite its meteoric career, the Düsseldorf twosome left its mark, creating bare-bones, pulsing electronic music that delighted in both stiff dance-floor experimentation and homoerotic tease. Though the album is overall moodier than the previous two, it still has its share of lighthearted numbers, such as a rerecording of the band's first single, "Kebabträume" (initially issued when DAF still used guitars), or "Prinzessin," which comes dangerously close to a love song--or at least what passed for a love song in 1982 Düsseldorf. This can be considered as the 3rd part of the duo's trilogy and maybe their best one; 'Für immer''s title is not casual, and puts a full stop of a band which if not brilliantly, efficiently put the bases for what was to come with bans such as F242, The Klinik or Dive.
D.A.F. - Fur Immer (flac 210mb)
01 Im Dschungel Der Liebe 4:11
02 Ein Bisschen Krieg 4:02
03 Die Götter Sind Weiss 3:00
04 Verlieb Dich In Mich 3:44
05 Geheimnis 3:23
06 Kebabträume 4:01
07 Prinzessin 4:19
08 Die Lippe 3:09
09 Verehrt Euren Haarschnitt 3:24
10 Wer Schön Sein Will Muss Leiden 3:35
D.A.F. - Fur Immer (ogg 81mb)
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Everybody knows and loves the classic three albums. This is the hidden gem, very different from the hard sounds of 1980-82 for starters they sing in english here presumably to make a breaktrough in the US . The duo reformed in '85, released a couple of singles gay as fuck and very funky. Brothers was THE tune in the Discos. Voulez Vous is totally funky at all. Opium sounds like Cabaret Voltaire (in a good sense) : a strong electric tune which might survived the time excellent. And so the album goes on in a quite different mix. remarkable und underrated.
D.A.F. - 1st Step to Heaven (flac 261mb)
01 Voulez Vous Coucher Avec Moi - Part I 2:25
02 Pure Joy 4:47
03 Blond Hair Dark Brown Hair 3:10
04 Sex Up 3:15
05 Absolute Bodycontrol 5:18
06 Voulez Vous Coucher Avec Moi - Part II 5:28
07 Crazy Crazy 3:08
08 Opium (Mix) 2:10
09 Brother/Brother 3:37
10 1st Step To Heaven (Mix) 5:46
D.A.F. - 1st Step to Heaven (ogg 104mb)
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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.
...N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
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.
xxxxx xxxxx xxxxx xxxxx xxxxx
Plank again oversees an album from the duo, while the photo on the front of Görl and Delgado in what looks like modified bondage gear maintains the sex theme well enough. Put it all together with song titles like "Sex Unter Wasser" (Sex Underwater) and "Absolute Körperkontrolle" (Absolute Body Control) and D.A.F. are tending that much more to the flesh rather than the mind. Things are just a touch less powerful than on Alles Ist Gut; opening track "Liebe auf den Ersten Blick" has a bass/melody combination that could almost be early Depeche Mode. Most of the time, though, it's only a slight difference by degrees, as pounding monsters like "Ich Will" and the instrumental build of "Absolute Körperkontrolle" demonstrate. Görl's music generally still relies on his forceful percussion and sharp, cutting synth bass in combination, and Plank once again makes it sound fantastic. Additional touches surface throughout, and if Gold und Liebe isn't as immediately varied as Alles was, the subtler elements do provide variety. There's almost a lounge feeling to the vibey keyboards on "Sex Unter Wasser," while the rough military drumming on "Muskel" suits the song perfectly. Accordingly, one of the best songs has one of the best fusions -- "Goldenes Spielzeug," with a soft, chime/keyboard melody over a tough bass/drum beat, singing appearing only every so often during its length. Delgado himself, however sex-obsessed he might be this time out, still makes a strong frontman -- certainly, if you don't know German, you can just pretend he's ordering everyone to the dancefloor under pain of death or something similar. Gold closes out on a fantastic note with "Verschwende Deine Jugend," a full-on destructive beast in the "Der Mussolini" mode, and "Greif Nach den Sternen," a steady-paced, almost anthemic number with the trademark D.A.F. blend of brusqueness still intact.
D.A.F. - Gold Und Liebe (flac 184mb)
01 Liebe Auf Den Ersten Blick 3:58
02 El Que 3:33
03 Sex Unter Wasser 3:04
04 Was Ziehst Du An Heute Nacht 3:46
05 Goldenes Spielzeug 3:56
06 Ich Will 3:19
07 Muskel 3:23
08 Absolute Körperkontrolle 3:12
09 Verschwende Deine Jugend 3:48
10 Greif Nach Den Sternen 3:41
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
In 1982, DAF (Deutsch Amerikanische Freundschaft) released Für Immer, their third album in the space of a year and half, then promptly split up when it tanked. But despite its meteoric career, the Düsseldorf twosome left its mark, creating bare-bones, pulsing electronic music that delighted in both stiff dance-floor experimentation and homoerotic tease. Though the album is overall moodier than the previous two, it still has its share of lighthearted numbers, such as a rerecording of the band's first single, "Kebabträume" (initially issued when DAF still used guitars), or "Prinzessin," which comes dangerously close to a love song--or at least what passed for a love song in 1982 Düsseldorf. This can be considered as the 3rd part of the duo's trilogy and maybe their best one; 'Für immer''s title is not casual, and puts a full stop of a band which if not brilliantly, efficiently put the bases for what was to come with bans such as F242, The Klinik or Dive.
D.A.F. - Fur Immer (flac 210mb)
01 Im Dschungel Der Liebe 4:11
02 Ein Bisschen Krieg 4:02
03 Die Götter Sind Weiss 3:00
04 Verlieb Dich In Mich 3:44
05 Geheimnis 3:23
06 Kebabträume 4:01
07 Prinzessin 4:19
08 Die Lippe 3:09
09 Verehrt Euren Haarschnitt 3:24
10 Wer Schön Sein Will Muss Leiden 3:35
D.A.F. - Fur Immer (ogg 81mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Everybody knows and loves the classic three albums. This is the hidden gem, very different from the hard sounds of 1980-82 for starters they sing in english here presumably to make a breaktrough in the US . The duo reformed in '85, released a couple of singles gay as fuck and very funky. Brothers was THE tune in the Discos. Voulez Vous is totally funky at all. Opium sounds like Cabaret Voltaire (in a good sense) : a strong electric tune which might survived the time excellent. And so the album goes on in a quite different mix. remarkable und underrated.
D.A.F. - 1st Step to Heaven (flac 261mb)
01 Voulez Vous Coucher Avec Moi - Part I 2:25
02 Pure Joy 4:47
03 Blond Hair Dark Brown Hair 3:10
04 Sex Up 3:15
05 Absolute Bodycontrol 5:18
06 Voulez Vous Coucher Avec Moi - Part II 5:28
07 Crazy Crazy 3:08
08 Opium (Mix) 2:10
09 Brother/Brother 3:37
10 1st Step To Heaven (Mix) 5:46
D.A.F. - 1st Step to Heaven (ogg 104mb)
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Thanks for posting the great trilogy and the underrated 1st Step to Heaven.
ReplyDelete- merci pour vos nombreux post de partage musical . c'est bien pratique pour retrouver des choses qu'on n'a plus ou qu'on ne connais pas . douzirec
ReplyDeleteHello Rho
ReplyDeleteCan you please re-up the D.A.F albums?
Many thanks
Please re-up, thanks!
ReplyDelete