Of course, the stars initially rejected the “Hamburg School” label. The bands and musicians spoke to each other, they had all chosen the Hanseatic city as a place to escape from the narrow-mindedness of the provinces. But why should the intellectually adept use of the German language, far removed from ironic fun punk lyrics and the renunciation of New Wave gloom, be a unifying element?
It’s a common misconception that all of this resulted in crooked lyrics and crooked-sounding guitars
Frank Spilker and his fellows had more groove than the competition. You can also say more joke. They didn’t want to be exhausting – and the title of their debut is already a ruse because it’s about touching on the supposedly unimportant. The expectation was limited to throwing yourself on the crumbs that Ton Steine had left behind with the first single, “Fickt das System”, and to link up with the currents of British pop music, i.e. its lost thoughts and playful seriousness to copy.
The fact that Spilker liked a quotable funkiness, but at the same time could not or did not want to leave his punk origins behind, can be heard at any time in songs like “Beginning missed” and the succinctly confused “Mach die Tür zu, es pulls”. While the first half casually saws through a few monuments and throws off statements without slogans, the last few minutes focus on fearless experimentation without words (“My Grandma”) and without a goal (“Idiot Sport”). “Unter Geier” even ensnares hippies and krautrock.
It’s a common misconception that all of this resulted in crooked lyrics and crooked-sounding guitars. Already “Unkonzentriert” and “Alles becomes more expensive” on the EP “Fickt das System”, included here as a necessary accompaniment, show how efficiently and full of playfulness the stars also feasted on rock sweat. There are no finds from the archive for this anniversary edition. After all, a blue vinyl limited to 150 copies looks good in the record cabinet.
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