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CD
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BB 379CD
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Bureau B reissue Dunkelziffer's last studio album Songs For Everyone, originally released 1989. Displaced from their spiritual home (the Stollwerck complex had been levelled in 1987) and robbed of the collaborative exchange it facilitated, Dunkelziffer took a different tack on Songs For Everyone, slimming down to a sextet with a newly streamlined sound. Olek Gelba and Reiner Linke remained in the percussive pocket, laying the foundation for Von Senger and Schubert's melodic prowess, with newcomers Jorge Guarin Quintaro and Irene Lorenz breathing fresh air into keys and vocals respectively. The reduced line-up may have diminished the chaotic brilliance of their earlier work, but the sparing palette allowed room for each member to shine brighter than ever before. Most notably, Dominik Von Senger, often restricted to rhythm guitar in the past, populated the newfound space with a bounty of rhapsodic solos. Stylistically, the Jamaican riddims, gnarly new wave and Eastern tonality of previous albums were supplanted by the smoothest jazz imbued with Latin flavors and a Mediterranean mindset. Arriving amid a ripple of taut timbales and spritely trumpet, opener "Songs For Everyone" sounds like it's been playing somewhere forever, just waiting for its moment of discovery. The rounded sound of guest Xavier Padilla's double bass dominates the bottom end, a familiar anchor as the mariachi keys and incendiary guitar try to spirit us away. Light-footed and heavily syncopated, "See It" sashays along the shoreline, inviting you to dance wherever blue seas kiss white sand. Each instrument is crisp, clear and accomplished, while Lorenz voice swells from a sultry whisper into a rich rasping fullness. Optimistic and melancholic in equal measure, "Illuminate" closes the A-side with a triumph of pure pop sincerity. The smooth jazz sophistication continues on the B-side with "Friends", a gorgeous Balearic torch song for a rose that's never been kissed. Echoes of "Lucky Star" and reverb-soaked drums cascade through a DX7 dreamscape as the plangent woodwind plays an elegy for summer fling. On "Spell It" the cowbells, congas, timbales and toms of Gelba, Linke and sessionist Daniel Basanta form an intricate rhythmic tapestry, transformed into a hip-flexing mambo by the addition of Guarin Quintaro's piano. Dunkelziffer close the LP with Jamaican flavor, though "Inside" is a much more atmospheric creature than the sun-kissed skanks of their previous releases. Largely stripped back to a core of dubby bass, sparse rhythm and subdued piano, this evocative swan-song splits the difference between Compass Point and the Wild Bunch, its muted vocals and distorted guitar anticipating the trip hoppers who would soundtrack the decade to come.
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LP
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BB 379LP
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LP version. Bureau B reissue Dunkelziffer's last studio album Songs For Everyone, originally released 1989. Displaced from their spiritual home (the Stollwerck complex had been levelled in 1987) and robbed of the collaborative exchange it facilitated, Dunkelziffer took a different tack on Songs For Everyone, slimming down to a sextet with a newly streamlined sound. Olek Gelba and Reiner Linke remained in the percussive pocket, laying the foundation for Von Senger and Schubert's melodic prowess, with newcomers Jorge Guarin Quintaro and Irene Lorenz breathing fresh air into keys and vocals respectively. The reduced line-up may have diminished the chaotic brilliance of their earlier work, but the sparing palette allowed room for each member to shine brighter than ever before. Most notably, Dominik Von Senger, often restricted to rhythm guitar in the past, populated the newfound space with a bounty of rhapsodic solos. Stylistically, the Jamaican riddims, gnarly new wave and Eastern tonality of previous albums were supplanted by the smoothest jazz imbued with Latin flavors and a Mediterranean mindset. Arriving amid a ripple of taut timbales and spritely trumpet, opener "Songs For Everyone" sounds like it's been playing somewhere forever, just waiting for its moment of discovery. The rounded sound of guest Xavier Padilla's double bass dominates the bottom end, a familiar anchor as the mariachi keys and incendiary guitar try to spirit us away. Light-footed and heavily syncopated, "See It" sashays along the shoreline, inviting you to dance wherever blue seas kiss white sand. Each instrument is crisp, clear and accomplished, while Lorenz voice swells from a sultry whisper into a rich rasping fullness. Optimistic and melancholic in equal measure, "Illuminate" closes the A-side with a triumph of pure pop sincerity. The smooth jazz sophistication continues on the B-side with "Friends", a gorgeous Balearic torch song for a rose that's never been kissed. Echoes of "Lucky Star" and reverb-soaked drums cascade through a DX7 dreamscape as the plangent woodwind plays an elegy for summer fling. On "Spell It" the cowbells, congas, timbales and toms of Gelba, Linke and sessionist Daniel Basanta form an intricate rhythmic tapestry, transformed into a hip-flexing mambo by the addition of Guarin Quintaro's piano. Dunkelziffer close the LP with Jamaican flavor, though "Inside" is a much more atmospheric creature than the sun-kissed skanks of their previous releases. Largely stripped back to a core of dubby bass, sparse rhythm and subdued piano, this evocative swan-song splits the difference between Compass Point and the Wild Bunch, its muted vocals and distorted guitar anticipating the trip hoppers who would soundtrack the decade to come.
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CD
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BB 377CD
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"... Taking a radical approach to sound, style and group dynamics, this loose collective of musicians and artists blazed an experimental trail through the '80s, offering an alternative vision of German pop fit for a decade of constant change. Emerging in the wake of Can's late seventies supernova, Dunkelziffer became the center of gravity for a new era of creativity in Köln. Embracing the stylistic freedom of this fresh start alongside the time and space offered by their residency in the Palazzo Schoko, their jam sessions, often including associates from the Food Band, Phantom Band and Catalans Dream Band as well as anyone passing through, soon segued into a (slightly) more formal ensemble, though free-thinking and free movement remained central ideologies . . . On their 1983 debut, Colours And Soul, Dunkelziffer offered an hour-long odyssey through the fringes of the pop landscape, creating a kaleidoscopic journey through sun-kissed skank, coastal funk, demented drum circles and tachycardic new wave. Appearing from the chaos of an outboard explosion, opener 'Kedema' lays the foundations for the seductive strangeness which follows, rewiring a lilting dub rhythm with skewed synth tones and curious percussion as late-Can man Rebop Kwaku Baah's unique vocals form a lopsided melody. Island undulations give way to angular excitations on 'Bleib Night So Lang Im Schatten Stehn', a propulsive piece of new wave alive with Wolfgang Schubert's skronking horns and some poised female vocals. From there the group bask in the light of their own miracle, surrendered to the seven-minute groove of 'This is How You Came', a sublime psychedelic blend of hypnotic bass, frazzled guitars and jazz-rock interludes. 'Keine Python' signposts the way to Babylon by autobahn before tribal electronic trio 'Dark Number', 'Stil Der Neuen Zeit' and 'Zufall In Der Wirklichkeit' take us to the midpoint in a polyrhythmic trance. 'S.O. 36' opens the B-side with an overload of adrenaline as a lurching AKAI-ready half time transforms into the fast-paced motorik stomp of a jazz-punk freakout. The dancefloor friendly 'Strom' follows, embracing a similar strain of sticky industrial funk as Unknown Cases' anthemic 'Masimba Bele', while 'Free' leads us back into the light, riding the thermals over a sparkling shoreline as the cannabis psychosis gives way to the purest reggae high. The playful 'Colours And Soul' serves some hip and horizontal DIY-dub on the B4, beachballs splashing into the surf before interlude 'Arche Noah' nudges into the highlife heat beat of 'Don't Ask Me'. Finally it falls to 'Beside The Light' to close out the set, a hazy piece of ecstatic pop equally informed by each of the diverse influences which came before..." --Patrick Ryder
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LP
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BB 377LP
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LP version. "... Taking a radical approach to sound, style and group dynamics, this loose collective of musicians and artists blazed an experimental trail through the '80s, offering an alternative vision of German pop fit for a decade of constant change. Emerging in the wake of Can's late seventies supernova, Dunkelziffer became the center of gravity for a new era of creativity in Köln. Embracing the stylistic freedom of this fresh start alongside the time and space offered by their residency in the Palazzo Schoko, their jam sessions, often including associates from the Food Band, Phantom Band and Catalans Dream Band as well as anyone passing through, soon segued into a (slightly) more formal ensemble, though free-thinking and free movement remained central ideologies . . . On their 1983 debut, Colours And Soul, Dunkelziffer offered an hour-long odyssey through the fringes of the pop landscape, creating a kaleidoscopic journey through sun-kissed skank, coastal funk, demented drum circles and tachycardic new wave. Appearing from the chaos of an outboard explosion, opener 'Kedema' lays the foundations for the seductive strangeness which follows, rewiring a lilting dub rhythm with skewed synth tones and curious percussion as late-Can man Rebop Kwaku Baah's unique vocals form a lopsided melody. Island undulations give way to angular excitations on 'Bleib Night So Lang Im Schatten Stehn', a propulsive piece of new wave alive with Wolfgang Schubert's skronking horns and some poised female vocals. From there the group bask in the light of their own miracle, surrendered to the seven-minute groove of 'This is How You Came', a sublime psychedelic blend of hypnotic bass, frazzled guitars and jazz-rock interludes. 'Keine Python' signposts the way to Babylon by autobahn before tribal electronic trio 'Dark Number', 'Stil Der Neuen Zeit' and 'Zufall In Der Wirklichkeit' take us to the midpoint in a polyrhythmic trance. 'S.O. 36' opens the B-side with an overload of adrenaline as a lurching AKAI-ready half time transforms into the fast-paced motorik stomp of a jazz-punk freakout. The dancefloor friendly 'Strom' follows, embracing a similar strain of sticky industrial funk as Unknown Cases' anthemic 'Masimba Bele', while 'Free' leads us back into the light, riding the thermals over a sparkling shoreline as the cannabis psychosis gives way to the purest reggae high. The playful 'Colours And Soul' serves some hip and horizontal DIY-dub on the B4, beachballs splashing into the surf before interlude 'Arche Noah' nudges into the highlife heat beat of 'Don't Ask Me'. Finally it falls to 'Beside The Light' to close out the set, a hazy piece of ecstatic pop equally informed by each of the diverse influences which came before..." --Patrick Ryder
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CD
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BB 378CD
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"Barely pausing for breath after 1983's Colours And Soul, Dunkelziffer delivered In The Night the following year, their revolving line-up prompting an evolving sound. Though the playful elements of their debut remained through a trio of sun-blushed dubbers, the album also housed the ensemble's most dense, intense and serious tracks to date. The core septet of Zerlett, Linke, Krachten, Von Senger, Keul, Gelba and Schubert returned as well as the new bassist Rike Gratt, each in their own flow state on this seven track LP. But it was all change behind the mic for In The Night, as Coco Claus and Josefa Martens moved on, while Rebop Kwaku Baah, whose deep and rhythmic vocals decorated most of their debut, had sadly passed away while on tour with Jimmy Cliff the previous year. Luckily a perfect reinforcement was waiting in the wings, and the unmistakable Damo Suzuki led the charge with Helmut Zerlett taking double duties on backing vocals. The loose-limbed reggae of 'Watch On My Head' offers the warmest of welcomes on the A1, a swaying bassline underpinning breezy woodwind and synthetic fanfares with Suzuki's treated vocals forming the final instrumental layer. Things take a jazzier turn on 'Sunday Morning', in which cascading harps and glistening arps clearing the way for a snaking rhythm piano to take the lead . . . Shifting through the gears as we approach the midpoint, Dunkelziffer drop into 'Retrospection', thirteen whole minutes of pulsating and powerful psych-rock retooled for the new wave era. Leaving the fuzzbox back in Haight-Ashbury, the group layer chorus-drenched guitars and bright keyboards into a sky-scraping groove. Yelped mantras and untamed horns add a new found intensity balanced by the limber bassline and nuanced percussion which steals the spotlight during the final quarter. The B-side brings a moment of breezy beachfront cool via 'Q', a sun-kissed stroll from Methaniac fusion into ska-tinged art rock before plunging headfirst into the abrasive psychobilly of '(Do Watch What You Can) Prof.', a sub three-minute headfuck of atonal horns, off kilter percussion and overlapping vocals from Suzuki and Zerlett. Invigorated after that short sharp shock, the group lay a love song on us, the sweet nothings of 'I See Your Smile' bobbing on a Caribbean tide. Pure, playful and hard to resist, this moment of pop perfection was the ideal candidate for the album's single. There's room for one more mood swing as we reach the finale, closing cut 'Oriental Cafe' upping the intensity to deliver ten minutes of tribal percussion and Eastern influence in the same vein as 'Still Der Neuen Zeit' on their debut." --Patrick Ryder
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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BB 378LP
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LP version. "Barely pausing for breath after 1983's Colours And Soul, Dunkelziffer delivered In The Night the following year, their revolving line-up prompting an evolving sound. Though the playful elements of their debut remained through a trio of sun-blushed dubbers, the album also housed the ensemble's most dense, intense and serious tracks to date. The core septet of Zerlett, Linke, Krachten, Von Senger, Keul, Gelba and Schubert returned as well as the new bassist Rike Gratt, each in their own flow state on this seven track LP. But it was all change behind the mic for In The Night, as Coco Claus and Josefa Martens moved on, while Rebop Kwaku Baah, whose deep and rhythmic vocals decorated most of their debut, had sadly passed away while on tour with Jimmy Cliff the previous year. Luckily a perfect reinforcement was waiting in the wings, and the unmistakable Damo Suzuki led the charge with Helmut Zerlett taking double duties on backing vocals. The loose-limbed reggae of 'Watch On My Head' offers the warmest of welcomes on the A1, a swaying bassline underpinning breezy woodwind and synthetic fanfares with Suzuki's treated vocals forming the final instrumental layer. Things take a jazzier turn on 'Sunday Morning', in which cascading harps and glistening arps clearing the way for a snaking rhythm piano to take the lead . . . Shifting through the gears as we approach the midpoint, Dunkelziffer drop into 'Retrospection', thirteen whole minutes of pulsating and powerful psych-rock retooled for the new wave era. Leaving the fuzzbox back in Haight-Ashbury, the group layer chorus-drenched guitars and bright keyboards into a sky-scraping groove. Yelped mantras and untamed horns add a new found intensity balanced by the limber bassline and nuanced percussion which steals the spotlight during the final quarter. The B-side brings a moment of breezy beachfront cool via 'Q', a sun-kissed stroll from Methaniac fusion into ska-tinged art rock before plunging headfirst into the abrasive psychobilly of '(Do Watch What You Can) Prof.', a sub three-minute headfuck of atonal horns, off kilter percussion and overlapping vocals from Suzuki and Zerlett. Invigorated after that short sharp shock, the group lay a love song on us, the sweet nothings of 'I See Your Smile' bobbing on a Caribbean tide. Pure, playful and hard to resist, this moment of pop perfection was the ideal candidate for the album's single. There's room for one more mood swing as we reach the finale, closing cut 'Oriental Cafe' upping the intensity to deliver ten minutes of tribal percussion and Eastern influence in the same vein as 'Still Der Neuen Zeit' on their debut." --Patrick Ryder
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CD
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CT 158
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The fourth Dunkelziffer CD to be released via Captain Trip and the group's Fünfundvierzig label. It includes their earliest EP recordings from 1982, which were originally released by the legendary Pure Freude label (before Can vocalist Damo Suzuki became involved with them). These tracks are pretty classic new wave ethno trance and have certainly aged well. This CD also includes various outtakes from 1983, which are also pre-Damo and of interest. If Can-tangibles are what it takes to get you excited, Reebop Kwaku Baah is a main percussionist for Dunkelziffer and Jaki Liebezeit contributed bongos to one track!
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CT 060
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Reissue of their third album from 1986 with bonus single/sampler tracks. The most Can-like in spirit and probably the place to start with these.
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CT 059
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Reissue of their second album, originally issued in1984. Their first release after Damo Suzuki joined the band. The slickest and most pop-like of the three in terms of production quality.
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CT 058
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"German mystic group, playing percussive space reggae. Featuring Damo Suzuki (ex-Can)." This is a previously unreleased live recording, from Cologne 1985, and is a CT exclusive release (the following 2 CDs are licensed from the band's FunfUndVierzig label in Germany). Dunkelziffer started recording for Pure Freude in 1982, but Suzuki did not join until 1984 with their In The Night album. Although very 80s sounding with some new wave lapsings, these albums feature long percussive-groove tracks, experimental/raw edges and the occasional transcending moment. Damo's vocals distinctly hover across the top, and Can fanatics need to hear these.
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