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CD
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TR 617CD
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$16.50
PREORDER
RELEASE DATE: 10/2/2026
With Stadt der blauen Eier: Selected Recordings and Rarities 1980-1981, Tapete Records is releasing a retrospective of Korpus Kristi, one of the early punk bands in West Germany that today is, quite unjustly, less well known. Alongside The Wirtschaftswunder and Die Radierer, Korpus Kristi were part of the so-called "Limburger Pest," which produced some of the most original releases on the West German underground scene in the early 1980s. Spanning a total of 12 tracks, the compilation features single releases, rarities and selected tracks from the 1981 album, finally making the band's brief but remarkable body of work accessible once again. The truth about Korpus Kristi (excerpt from the liner notes accompanying the compilation): "The birth of Korpus Kristi. They claimed to be inspired by the Stooges, but decades later, Bodenstein said in a bar in Hanau, pointing to a concert-poster of the German-American proto punk band The Monks: 'They were the granddaddies of Korpus Kristi, even if we didn't know it back then.' At least when it came to emptying out clubs, they could certainly hold their own against their role models. At Frankfurt's famous Batschkapp, they incited the audience to enthusiastic 'Stop! Stop!' chants; in Wiesbaden, an enraged patron tried to murder singer Bodenstein right on the spot. Their live shows were marked by chaos and raw violence. Even the stage set was terrifying: Barbed wire, oil drums that Bodenstein pounded on like a man possessed, as if they were bones that had to be shattered, crosses from which they hung themselves -- a thoroughly blasphemous spectacle, an exorcism intended to drive out even the last spark of divinity, the last breath of the Holy Spirit that might still linger in the room. And under no circumstances were they to allow the audience to develop any sense of rhythm. As soon as feet and hips began to sway, the bass and drums would smash everything to pieces again, Pulch's saxophone would send the tinnitus soaring to immeasurable heights, and a chainsaw guitar would gnaw its way into the listeners' groins. And if none of that worked, there was always Bodenstein's voice, which wavered back and forth between trilled squeals and roars and seemed to come from everywhere thanks to reverb and echo effects. 'I like that, it really gets me going when they're screaming down there' said Bodenstein, referring to the tormented audience." --Roky Lugosi
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LP
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TR 617LP
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$26.00
PREORDER
RELEASE DATE: 10/2/2026
LP version. With Stadt der blauen Eier: Selected Recordings and Rarities 1980-1981, Tapete Records is releasing a retrospective of Korpus Kristi, one of the early punk bands in West Germany that today is, quite unjustly, less well known. Alongside The Wirtschaftswunder and Die Radierer, Korpus Kristi were part of the so-called "Limburger Pest," which produced some of the most original releases on the West German underground scene in the early 1980s. Spanning a total of 12 tracks, the compilation features single releases, rarities and selected tracks from the 1981 album, finally making the band's brief but remarkable body of work accessible once again. The truth about Korpus Kristi (excerpt from the liner notes accompanying the compilation): "The birth of Korpus Kristi. They claimed to be inspired by the Stooges, but decades later, Bodenstein said in a bar in Hanau, pointing to a concert-poster of the German-American proto punk band The Monks: 'They were the granddaddies of Korpus Kristi, even if we didn't know it back then.' At least when it came to emptying out clubs, they could certainly hold their own against their role models. At Frankfurt's famous Batschkapp, they incited the audience to enthusiastic 'Stop! Stop!' chants; in Wiesbaden, an enraged patron tried to murder singer Bodenstein right on the spot. Their live shows were marked by chaos and raw violence. Even the stage set was terrifying: Barbed wire, oil drums that Bodenstein pounded on like a man possessed, as if they were bones that had to be shattered, crosses from which they hung themselves -- a thoroughly blasphemous spectacle, an exorcism intended to drive out even the last spark of divinity, the last breath of the Holy Spirit that might still linger in the room. And under no circumstances were they to allow the audience to develop any sense of rhythm. As soon as feet and hips began to sway, the bass and drums would smash everything to pieces again, Pulch's saxophone would send the tinnitus soaring to immeasurable heights, and a chainsaw guitar would gnaw its way into the listeners' groins. And if none of that worked, there was always Bodenstein's voice, which wavered back and forth between trilled squeals and roars and seemed to come from everywhere thanks to reverb and echo effects. 'I like that, it really gets me going when they're screaming down there' said Bodenstein, referring to the tormented audience." --Roky Lugosi
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