[engl] "Frank Bretschneider was active in the subcultural environment of Karl-Marx-Stadt. In the early 1980s, he published the independent graphics edition “A Drei”, then went on to set the tone with cult formation AG Geige. Under the alias A. F. Moebius, Bretschneider’s “Eine Auswahl” (“A selection”) was a distillate of creative periods from 1985 to ’87. The B-side “Eine Auswahl” complemented the “Alle Aufnahmen” (“All recordings”) tape by Heinz & Franz, a project that would close the circuit of acoustics and electronics. “Eine Auswahl” was based on work with the KORG M-20; Bretschneider also worked with tape loops. Material used included fragments, musical phrases, AMIGA radio play records or randomly targeted radio snippets. The split tape by Heinz & Franz and A. F. Moebius was released in 1988 on Bretschneider’s underground label klangFarBe in an edition of about 50 copies. Between 1985 and ’89, eight tape productions appeared on klangFarBe."

[engl] Starting in 1983, Aufruhr zur Liebe consisted of musicians from bands such as Rosa Extra, Feeling B, Antifaschistischer Schutzwall (later Planlos) or Ornament & Verbrechen. The band’s sound and lyrics contextualized the reality of the GDR and left behind idiosyncratic signatures: melodic arcs of failure merged into an alloy of post punk, art rock, T. Rex, Virgin Prunes, industrials shamanism, and a refusal to conform – monotonously dark, a destructive trip across mined terrain. Aufruhr zur Liebe disbanded in 1986 due to a departure for the west, and its successor project Electro Artist was likewise ended by emigration from the GDR. After the fall of the wall, Aufruhr zur Liebe gave rise to the bands Fleischmann and Tarwater, which became successful beyond German borders. The compilation “3 x 3 = Nein” comprises songs from the tapes “Irish Folk & Andere Schlechtigkeiten” and “Halt mich steil”, which were distributed around 1985 in an edition of 30 to 50 copies. The tapetopia series, using the original layouts and track lists, publishes cassette editions from the GDR underground of the 1980s, especially from the “walled-in” scene in East Berlin. More than three decades after their initial “release”, most of these tapes have yet to be heard on either vinyl or CD, even though they made an audible mark in the canon of GDR sub- culture. Despite the tiny original editions of the time, many of the bands were considered cult in countercultural circles, which made them highly suspect in informed circles.

[engl] First single from the „Times Of Upheaval“ album w/ remixes by Tommy Four Seven, The Horrorist, Restive Plaggona, Ah Cama-Sotz and Rendered)

[engl] First single from the „Times Of Upheaval“ album w/ remixes by Tommy Four Seven, The Horrorist, Restive Plaggona, Ah Cama-Sotz and Rendered)

[engl] Corp Cruid I was the only release of the planned tape series BleiBeil. The tracks were recorded over a longer period of time in 1988 – and in changing constellations that corresponded to the line-up of the East Berlin underground band Ornament & Verbrechen. 30 copies were circulated exclusively among friends. Concerts were not part of the plan, also due to the band’s rejection of a playing permit; there was no interest in being tolerated by the cultural apparatus, which treated projects like Corp Cruid with contempt or even hostility. Even before the GDR collapsed, in November 1989, almost half of the Ornament & Verbrechen musicians had left the country. Ensembles as remote from the state as Corp Cruid sounded like a faint scratch on the Wall of Sound of a hysterical system. The tape survived on a master tape and on a few copies; today the GDR is only its background noise.

[engl] Der Expander des Fortschritts was founded in 1986. The “risk group” described itself as “pop musique concrète” or “abstract pop”. Der Expander des Fortschritts relied on disharmony and ruptures, which resulted in radio plays in a song format; the GDR as a real-socialist satire provided its material. Even the band’s name was a cultural appropriation of the superstructure by the substructure: “progress” was a fetishized word in the GDR, factory sports clubs would add it to their name, solidarity concerts would use it as a motto. The title “Urknall · Horde · Mensch” resulted from an Expander-typical translation of “Weltall, Erde, Mensch”, a compendium ceremoniously presented to each initiator on the occasion of their socialist youth initiation. In 1988, the band released the tape album on their own label Irrmenschkassette, a big bang in a tiny edition.

[engl] Dune Messiah develops misanthropic persona on the new album Moments of Bliss The Danish folk-noir artist Dune Messiah, unfolds a universe of black romance and mysticism. On March 29, he is publishing his second studio album "Moments of Bliss", through French label Third Coming Records and German label Aufnahme + Wiedergabe. Throughout the album we get to know a kind of isolated character express his bitter emotions and pity for humanity. A misanthrope who is outside the common society and sometimes with a sense of jealousy tries to reach out towards it. The character often finds himself hopelessly in love with a female figure, or in hateful envy and with a burning desire to destroy or degrade the female figure as a reaction to this.