Reviews

Play Loud!

Familie Hesselbach Familie Hesselbach LP reissue

A South German private press post-punk curio from 1982 that failed to capitalize on any sort of Neue Deutsche Welle hype at the time of its original release, but the underground reissue industry is thriving in the 21st century and we haven’t run out of petroleum yet so now here we are again. The repeated mentions of FAMILIE HESSELBACH having been “the German TALKING HEADS” strike me as a little strange—there’s some surface-level parallels between the two groups, namely a reliance on rubber-band bass snap to guide anxious, funk-influenced rhythms, although if anything, FAMILIE HESSELBACH seem to have pulled those elements from UK-based primary sources (the taut, scratchy groove-agitation of both GANG OF FOUR and A CERTAIN RATIO would be high on the list). Some skronking horns and inside-out disco beats do point to a certain New York influence, but it’s one drawn from the No Wave universe of bands like the CONTORTIONS that never even remotely included the TALKING HEADS, and the vocals (in both German and Italian) are frequently delivered in an urgent, clipped bark in stark opposition to David Byrne’s buttoned-up poindexter yelp. Most of Familie Hesselbach’s seventeen tracks are around two minutes or less each, just ping-ponging from one idea to another with the sort of econo-minded attention span of the scrappiest DIY outfits, but executed with the necessary tightness and control required to translate to the post-punk dancefloor. Won’t completely burn down the haus, but some flames are still sparked.

Klick & Aus Tapetopia 003: AIDS Delikat LP

The ’80s tried its hardest to kill rock’n’roll. In 1984, KLICK & AUS didn’t give a fuck about rock’n’roll per se, but still they managed to tap into its eternal well-spring of possibility and indulge in reckless, ramshackle sounds. KLICK & AUS stitched their music together while adjacent to quarantine (West Berlin gazing at East) and that patchwork existence influences their output. This is human music, as modern as a car phone and thirty times more useful. At times, KLICK & AUS recalls similar collectives such as HANS-A-PLAST (“Halt Mich Fest”), LUCRATE MILK (“Gebt Mir Schnaps”), TUXEDOMOON (“Slow Virus”), and FAUST (“Das Schicksal Der Lymphozyten”). Unfortunately, due to format constraints, the entirety of the original hour-long cassette is relegated to the web, but the material that shows up on this LP is more than enough to kickstart your own scene where the rules get chucked out the nearest window (and of course that is recorded for future use).

Ornament Und Verbrechen Tapetopia 001: Rotmaul Tape LP

The first of Play Loud!’s excavations of Germany’s cassette culture, Rotmaul Tape is one side from ORNAMENT UND VERBRECHEN’s debut release from 1988. That’s a bit too far down the autobahn of my preferred era of this fertile underground scene. ORNAMENT UND VERBRECHEN operates from a goth-drenched vantage point, but most of the music manages to rise above the faux-dramatic vocalizing. Still, as early sampler tech collides with snatches of noisy guitar, ORNAMENT UND VERBRECHEN, more often than not, ends up sounding like DEPECHE MODE minus the dance beats. “Surety” has mournful late-JOY DIVISION synth (s)weep and even whips out a harmonica for some extra WTF-ness. “Jesus” is simultaneously elegiac and discombobulating, which is a welcome set of conflicting reactions. The best use for a track like the vaguely SUICIDE-ish “Sally” is soundtracking a period-specific romance that occurs during the final thaw of the Cold War. The atmosphere of decadent banality is highlighted by KENNY G sax licks and elevator-worthy piano trills. Fortunately, “The Death By Heroin Of Sid Vicious” is the punkest cut here and sounds closest to the unclassifiable basement ooze that distinguished the early German tape scene.