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Артист: Deutsch-Amerikanische Freundschaft Альбом: Die Kleinen und die Bösen [REM], 1980 Жанр: experimental, alternative Формат файла: flac (separate files) Ссылка: CD 3 clicks Нахождение: eDonkey/Kademlia

Tracklist:

1 Osten Währt Am Längsten
2 Essen Dann Schlafen
3 Co Co Pino
4 Kinderfunk
5 Nacht Arbeit
6 Ich Gebe Dir Ein Stück Von Mir
7 De Panne
8 Gewalt
9 Gib's Mir
10 Auf Wiedersehen
11 Das Ist Liebe
12 Was Ist Eine Welle
13 Anzufassen Und Anzufassen
14 Volkstanz
15 Die Lustigen Stiefel
16 Die Kleinen Und Die Bösen
17 Die Fesche Lola
18 El Basilon
19 Y La Gracia

QUOTE

Members Robert Görl (synth), Gabi Delgado (vocals), Wolfgang Spelmans (guitar, 1978-81), Michael Kemner (bass, 1978-80), Chrislo Haas (synth, bass, sax, 1979-80), Kurt Dahlke [Pyrolator] (synth, 1978-79) (rateyourmusic.com) Deutsch-Amerikanische Freundschaft From Wikipedia, the free encyclopedia DAF is an influential electropunk / Neue Deutsche Welle band from Düsseldorf, formed in 1978 featuring drummer/synth player Robert Görl, vocalist Gabi Delgado-Lopez , guitarist Wolfgang Spelmans and bassist/keyboardist/saxophonist Chrislo Haas. The name stands for Deutsch-Amerikanische Freundschaft or German-American friendship - which at the time the band formed was a shot at DSF, the East German German-Soviet friendship organization. DAF's most famous song is "Der Mussolini" from the album "Alles Ist Gut", a pulsing dance song with lyrics of "Dance the Mussolini, move your behind, clap your hands, and now the Adolf Hitler, and now the Jesus Christ, and now the communism ...". There have been rumours that the group's name is really a tribute to the Deutsche Arbeitsfront (a Nazi labour organization); however, DAF's style is arguably anti-political, possibly even nihilistic, and such rumours almost always surround lyrically or musically controversial bands. At best, they are referenced as a punk band advancing into electronic music. In interviews they claimed to not target anything or anyone specific while creating lyrics to be taken as a parody of words and phrases floating around in the public media. A few months before the 2003 invasion of Iraq DAF released "The Sheriff (An Anti-American Song)" criticizing perceived American imperialism. The album "Alles Ist Gut" received the German "Schallplattenpreis" award by the "Deutsche Phono-Akademie", an association of the German recording industry. The first two DAF albums featured the original four-piece line-up and a range of styles. On some songs of Die Kleinen und die Bösen, the guitars thrashed and screeched and the drums hammered while Gabi screamed and ullulated. On others, though, the arrangements were sparser and more electronic and Gabi's vocals were subdued and menacing. It was this latter approach that developed into the distinctively minimalist DAF formula. The next album, Alles ist Gut, was recorded by Gabi and Robert working as a duo. Robert played drums - usually fairly simple and relatively unsyncopated patterns, but with simple variations that prevented them sounding robotic - while Gabi sang. The only other instrument used was a Korg MS-20 modular synthesiser, usually driven by a 16-step analog sequencer. Typically only a single sequencer-driven line would be used for a song, the sequence functioning both as melodic accompaniment and as a bassline. The song Der Mussolini is a perfect example of this. On other songs, such as the title track, certain notes of the sequence were set slightly out of tune. Overall the songs entail a complex tension between the predominantly visceral (the voice), the relentlessly robotic (the 16-step sequences), and the drums, which lie somewhere in between. One song, der Räuber und der Prinz, also features a glockenspiel as a sinister reminder of childhood. This was uncompromisingly minimalist pop. The next two albums, Gold und Liebe and Für Immer, continued in the same vein, until, as one British music journalist of the time put it, DAF had exhausted all the possibilities of the 16-step sequencer. These possibilities ranged from something resembling Rhythm and Blues - you could just about play Der Mussolini as R'n'B if you wanted - to the microtonality of Im Dschungel der Liebe (on Für Immer) or Knochen auf Knochen (the B-side of the single Sex unter Wasser). These three albums (from Alles ist Gut to Für Immer) were all produced by Conny Plank, who was renowned for his pioneering work both with minimalist-influenced Krautrock bands and other experimenters in the 1970s, and with electropop artists in the 1980s. After Für Immer DAF split up for approximately twenty years, except for a brief reunion in 1985 to record 1st Step to Heaven, their only album in English. During this extensive period their historical importance began to become clearer. Legendary radio DJ John Peel went as far as to call them the Grandfathers of Techno. Both Robert and Gabi had solo musical careers, with Robert becoming a respected techno artist in his own right. When DAF reformed for the 2003 album Fünfzehn Neue DAF Lieder their style had shifted to a fusion of the classic Plank-produced DAF sound with elements taken from Robert's techno work. The drums were replaced with crisper electronic beats, but the MS-20 and, of course, Gabi's vocals remained in place. As a lyricist, Gabi's concerns throughout DAF's recording career have ranged from sardonic reflections on ideology and political violence, to journeys into a very physical, even brutal, sexuality, sometimes related from a child's point of view. As performers and media personalities DAF resemble many other technopop duos, such as the Pet Shop Boys, Sparks and Soft Cell, in that the singer (in this case Gabi) appears relatively extroverted while the one who plays with the electronics (Robert) appears quiet and reserved. Visually, at least from Alles Ist Gut until Für Immer, they cultivated an image of black leather, hairy chests and sweat. Gabi's hairy chest made a comeback appearance in the 2003 promotional video for Der Sheriff.

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