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Search Result for Artist DER PLAN
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LP
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BB 129LP
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LP version. 180 gram vinyl. Retrospectively, it makes perfect sense that Der Plan created a soundtrack. For one thing, visuals were almost as important to Der Plan as their music. And if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, Der Plan went further -- with scenery, masks and album covers designed by Moritz R® they invented their own universe. Indeed, the sounds of everyday life woven into Der Plan's music contributed to the filmic quality of their sound. Thus Frank Fenstermacher, Moritz R® and Pyrolator were not slow in responding to their old friend Rainer Kirberg's request to work on his latest film Die letzte Rache. The director Kirberg, born in 1954, studied film in Düsseldorf. They all knew each other from shared lodgings, political meetings and the local hangout Ratinger Hof. As well as playing his part in the music, Moritz R® also came up with the sets, while Frank Fenstermacher secured a minor role as the inspector's sidekick. But back to the music: Letzte Rache (1983) was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. With the aid of the Emulator 1, Der Plan succeeded in recording something which could also work as a diverting radio drama without moving images. In contrast to the two previous albums Geri Reig and Normalette Surprise (BB 105CD/LP), which defined the Plan sound and virtually did without any musical quotations, echoes of jazz can be heard on Die letzte Rache and, of course, film music. Andreas Dorau weighs in with a bona fide pop hit in the guise of a "Junger Mann." Ah yes, the film itself, what is it actually about? Following the aesthetic tradition of 1920s German Expressionist cinema, Die letzte Rache -- "the last revenge" -- tells the hair-raising tale of a ruler who charges "the worldly" with the task of finding him a successor. The problem is: idiots abound. The worldly's search is fruitless and -- sometimes the most obvious solutions are the most practical -- he decides to seize power himself. At the end of the day: the ruler's empire in ruins, the Worldly goes mad, the inspector goes to jail (arrested by his own assistant!), and the ruler is badly injured yet immortal, suffering terrible agonies. Bonus tracks include the six pieces from the film Der Grottenolm.
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CD
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BB 129CD
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Retrospectively, it makes perfect sense that Der Plan created a soundtrack. For one thing, visuals were almost as important to Der Plan as their music. And if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, Der Plan went further -- with scenery, masks and album covers designed by Moritz R® they invented their own universe. Indeed, the sounds of everyday life woven into Der Plan's music contributed to the filmic quality of their sound. Thus Frank Fenstermacher, Moritz R® and Pyrolator were not slow in responding to their old friend Rainer Kirberg's request to work on his latest film Die letzte Rache. The director Kirberg, born in 1954, studied film in Düsseldorf. They all knew each other from shared lodgings, political meetings and the local hangout Ratinger Hof. As well as playing his part in the music, Moritz R® also came up with the sets, while Frank Fenstermacher secured a minor role as the inspector's sidekick. But back to the music: Letzte Rache (1983) was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. With the aid of the Emulator 1, Der Plan succeeded in recording something which could also work as a diverting radio drama without moving images. In contrast to the two previous albums Geri Reig and Normalette Surprise (BB 105CD/LP), which defined the Plan sound and virtually did without any musical quotations, echoes of jazz can be heard on Die letzte Rache and, of course, film music. Andreas Dorau weighs in with a bona fide pop hit in the guise of a "Junger Mann." Ah yes, the film itself, what is it actually about? Following the aesthetic tradition of 1920s German Expressionist cinema, Die letzte Rache -- "the last revenge" -- tells the hair-raising tale of a ruler who charges "the worldly" with the task of finding him a successor. The problem is: idiots abound. The worldly's search is fruitless and -- sometimes the most obvious solutions are the most practical -- he decides to seize power himself. At the end of the day: the ruler's empire in ruins, the Worldly goes mad, the inspector goes to jail (arrested by his own assistant!), and the ruler is badly injured yet immortal, suffering terrible agonies. Bonus tracks include the six pieces from the film Der Grottenolm.
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CD
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BB 130CD
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Der Plan were invited to Tokyo in 1984 to play six concerts for Seibu, a Japanese department store chain. Seibu were staging a "German Week." But how did they come to choose Der Plan, of all bands? Why not an Oktoberfest combo or the Scorpions? Moritz Reichelt explains: "German New Wave was really popular in Japan. They knew more about it than people here at home. Catalogs and magazines detailed every obscure record and depicted the covers. This particular department store chain was linked to Wave, a record shop and distributor -- and they really knew their stuff." JaPlan documents the set list from these Tokyo shows. Featuring previously-released songs from the Normalette Surprise (BB 105CD/LP) album, the Die letzte Rache soundtrack, and the double single Golden Cheapos, JaPlan also includes rare instrumentals produced for these very concerts, and one of the most famous songs by Der Plan: "Gummitwist." Der Plan and Japan -- a good match, not only phonetically. Reichelt: "Japan had always been one of our strongest territories. Our records were exported there from the very beginning. When I arrived, I understood why. Japanese pop culture is really 'planesque' in a way. Artificiality with a twinkle in the eye. We stepped inside our hotel in 1984 and switched on the television. The first thing we saw was an advert with three dinosaurs singing a song. Pretty much like one of our shows." The reissue is graced with new artwork due to the fact that the Japanese simply adopted the cover of the existing Golden Cheapos EP. The relationship of form and content was thus absent and one significant change was made: the image of a faint square covering the exposed lower body of a lady in the hay was replaced by an opaque black square. A joke at the expense of the censors fell victim to actual censorship. This re-release could be said to correct an optical error in the band's discography. Includes four bonus tracks.
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LP
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BB 130LP
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LP version on 180 gram vinyl. Der Plan were invited to Tokyo in 1984 to play six concerts for Seibu, a Japanese department store chain. Seibu were staging a "German Week." But how did they come to choose Der Plan, of all bands? Why not an Oktoberfest combo or the Scorpions? Moritz Reichelt explains: "German New Wave was really popular in Japan. They knew more about it than people here at home. Catalogs and magazines detailed every obscure record and depicted the covers. This particular department store chain was linked to Wave, a record shop and distributor -- and they really knew their stuff." JaPlan documents the set list from these Tokyo shows. Featuring previously-released songs from the Normalette Surprise (BB 105CD/LP) album, the Die letzte Rache soundtrack, and the double single Golden Cheapos, JaPlan also includes rare instrumentals produced for these very concerts, and one of the most famous songs by Der Plan: "Gummitwist." Der Plan and Japan -- a good match, not only phonetically. Reichelt: "Japan had always been one of our strongest territories. Our records were exported there from the very beginning. When I arrived, I understood why. Japanese pop culture is really 'planesque' in a way. Artificiality with a twinkle in the eye. We stepped inside our hotel in 1984 and switched on the television. The first thing we saw was an advert with three dinosaurs singing a song. Pretty much like one of our shows." The reissue is graced with new artwork due to the fact that the Japanese simply adopted the cover of the existing Golden Cheapos EP. The relationship of form and content was thus absent and one significant change was made: the image of a faint square covering the exposed lower body of a lady in the hay was replaced by an opaque black square. A joke at the expense of the censors fell victim to actual censorship. This re-release could be said to correct an optical error in the band's discography. Includes four bonus tracks.
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CD
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BB 104CD
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Geri Reig is Der Plan's debut album (originally released in 1980), but not their first release. An EP, recorded with the aid of an Electric Memo dictation preceded Geri Reig. But the band is not very keen on reissuing this early work. Why did they call themselves "Der Plan," actually? "A concept which has something to do with the capacity of people to think and shape their future" as Plan member Moritz Reichelt, alias Moritz R®, once explained. Der Plan at that time comprised Moritz Reichelt, Frank Fenstermacher, Robert Görl and Chrislo Haas. Their music was menacing, fragmented noise rock, still with guitar and drums, but far removed from the typical (rock) music of the period. When Görl and Haas departed (to form DAF), guitars and drums also disappeared from Der Plan. New on the team: Kurt Dahlke alias Pyrolator. This was the line-up which recorded Geri Reig in Reichelt's Düsseldorf office with a two-channel tape machine. Geri Reig is a punk album in the truest and best sense. New, threatening and, at the same time, humoros. While other bands of the era stamped with the seal of "punk" played a faster and harder version of 1950s rock and roll or 1960s garage rock, Der Plan, like a handful of contemporaries such as The Residents or Throbbing Gristle, not only rejected traditional song structures but jettisoned the whole instrument list. That's punk for you! Allied to a deep aversion to rock music and the cliché that goes with it, was the wish to create something of their own. And Geri Reig is certainly idiosyncratic: fragments and songs, raspy and fragile, melodies and interference, ambient sounds up front in the mix. Fine in theory and -- rare though it may be -- excellent in practice. And it just gets better: the album was well-received. Moritz R®: "As if everyone had been waiting for it."
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LP
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BB 104LP
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180 gram LP version. Geri Reig is Der Plan's debut album (originally released in 1980), but not their first release. An EP, recorded with the aid of an Electric Memo dictation preceded Geri Reig. But the band is not very keen on reissuing this early work. Why did they call themselves "Der Plan," actually? "A concept which has something to do with the capacity of people to think and shape their future" as Plan member Moritz Reichelt, alias Moritz R®, once explained. Der Plan at that time comprised Moritz Reichelt, Frank Fenstermacher, Robert Görl and Chrislo Haas. Their music was menacing, fragmented noise rock, still with guitar and drums, but far removed from the typical (rock) music of the period. When Görl and Haas departed (to form DAF), guitars and drums also disappeared from Der Plan. New on the team: Kurt Dahlke alias Pyrolator. This was the line-up which recorded Geri Reig in Reichelt's Düsseldorf office with a two-channel tape machine. Geri Reig is a punk album in the truest and best sense. New, threatening and, at the same time, humoros. While other bands of the era stamped with the seal of "punk" played a faster and harder version of 1950s rock and roll or 1960s garage rock, Der Plan, like a handful of contemporaries such as The Residents or Throbbing Gristle, not only rejected traditional song structures but jettisoned the whole instrument list. That's punk for you! Allied to a deep aversion to rock music and the cliché that goes with it, was the wish to create something of their own. And Geri Reig is certainly idiosyncratic: fragments and songs, raspy and fragile, melodies and interference, ambient sounds up front in the mix. Fine in theory and -- rare though it may be -- excellent in practice. And it just gets better: the album was well-received. Moritz R®: "As if everyone had been waiting for it."
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CD
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BB 105CD
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1980 the zeitgeist played into the right hands. And who held the aces? In Bureau B's game, Moritz R®, Frank Fenstermacher and Pyrolator aka Der Plan. Tired of convention and full of enthusiasm, they encountered an audience who felt just the same. And with record companies too ponderous to sign up Der Plan, the wonderful Ata Tak label was born of necessity. Normalette Surprise is the second album by Der Plan, released in 1981, a good year after their Geri Reig debut. It is immediately recognizable as a Plan album, yet Normalette Surprise does contain a few, well, surprises. The first number, "Leb doch," is a brilliant pop song. One can say many (good) things about Geri Reig, but it does not contain any pop songs. "Leb doch" is built on a captivatingly taut rhythm, sub-cooled vocals and German lyrics. Hang on a minute, taut rhythm, sub-cooled vocals, German lyrics? Yes exactly -- Der Plan drew up the blueprint for what would soon become known as "Neue Deutsche Welle" -- the German New Wave. Although, "blueprint" sounds a little too benign. It was more like a big bang. Moreover, there was something new about it. Or rather, something old. Bizarrely, Der Plan were introduced by their American artist friends, including the controversial elocutionist Boyd Rice, into the amazing world of the German Schlager, a colorful universe of the absurd awaited exploration. "Kleine Schlager-Revue" and "Sie hat mich verlassen" are the clearest indications of this newfound passion on Normalette Surprise. Hence, Normalette Surprise presents the full range of attributes which would define Der Plan and the Ata Tak label: electronics and Schlager, noise and pop. And Der Plan's protagonists succeeded -- unlike so many -- in their mission of creating something original, something of their own.
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LP
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BB 105LP
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180 gram LP version. 1980 the zeitgeist played into the right hands. And who held the aces? In Bureau B's game, Moritz R®, Frank Fenstermacher and Pyrolator aka Der Plan. Tired of convention and full of enthusiasm, they encountered an audience who felt just the same. And with record companies too ponderous to sign up Der Plan, the wonderful Ata Tak label was born of necessity. Normalette Surprise is the second album by Der Plan, released in 1981, a good year after their Geri Reig debut. It is immediately recognizable as a Plan album, yet Normalette Surprise does contain a few, well, surprises. The first number, "Leb doch," is a brilliant pop song. One can say many (good) things about Geri Reig, but it does not contain any pop songs. "Leb doch" is built on a captivatingly taut rhythm, sub-cooled vocals and German lyrics. Hang on a minute, taut rhythm, sub-cooled vocals, German lyrics? Yes exactly -- Der Plan drew up the blueprint for what would soon become known as "Neue Deutsche Welle" -- the German New Wave. Although, "blueprint" sounds a little too benign. It was more like a big bang. Moreover, there was something new about it. Or rather, something old. Bizarrely, Der Plan were introduced by their American artist friends, including the controversial elocutionist Boyd Rice, into the amazing world of the German Schlager, a colorful universe of the absurd awaited exploration. "Kleine Schlager-Revue" and "Sie hat mich verlassen" are the clearest indications of this newfound passion on Normalette Surprise. Hence, Normalette Surprise presents the full range of attributes which would define Der Plan and the Ata Tak label: electronics and Schlager, noise and pop. And Der Plan's protagonists succeeded -- unlike so many -- in their mission of creating something original, something of their own.
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CD
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MA 061CD
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Originally released in 2004, this was Berlin-based Der Plan's triumphant return after 15 years in hiatus. Der Plan is one of the most influential German bands, and pioneers of German '80s electronica/avant garde pop. Their legendary debut album Geri Reig from 1980 paved the way for a whole new musical style and movement -- the "Neue Deutsche Welle" (New German Wave) -- which brought the world D.A.F. and Einstuerzende Neubauten. Der Plan had also been very influential on the international music scene: obviously some of Britain's more daring synthie pop bands of the '80s were inspired by them, but also electronica acts like Mouse On Mars and To Rococo Rot. Die Verschwörung (The Conspiracy) features 15 tracks including a stunning electro interpretation of the famous German children's poem "Dunkel Wars." Other highlights include "Hohe Kante," and the catchy "Copyright Slavery," recorded with a full children's choir. The album continues their distinctive electronica sound with simple and catchy melodies often showcasing a unique child-like quality, radical humor and wit. The album was recorded with vintage analog keyboards and sequencers, continuing the original Plan sound of the early '80s.
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CT 404
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Japanese-only CD reissue of what was originally a Japanese-only LP in the 80s, issued in support of a Der Plan tour. "Der Plan is a German music art group who is running an independent label Ata Tak. The original LP was released only in Japan in 1985. Including 12" EP track, 2 unreleased tracks. Japan only."
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