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12"
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KOM 469EP
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Drei Remixe für Andreas Dorau -- Unsichtbare Tänzer follows on from the extensive series of remixes for Andreas Dorau that have been produced by Wolfgang Voigt since the mid-1990s under a wide variety of project names, but also by Michael Mayer, Tobias Thomas, and Reinhard Voigt (Forever Sweet) released on Ladomat. The limited 12" Unsichtbare Tänzer will be released as an edition of 500 copies, hand-numbered and signed by Andreas Dorau and Wolfgang Voigt.
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CD
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TR 466CD
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Tapete Records present a reissue of Andreas Dorau's Ich bin der Eine von uns Beiden, originally released in 2005 on Mute. Includes such classics as "Kein Liebeslied", "40 Frauen", and "Im September". "Ihr brüllt von Liebe in engen Gewändern / Doch einer wie ich will die Welt noch verändern", sings Andreas Dorau on "Kein Liebeslied", written with Sven Regener. Love was not his chosen subject, he wanted to sing of other things -- wild boar ("Schwarze Furchen"), processions ("40 Frauen"), and the back house where the people come out the front ("Hinterhaus"). It was ever so. The maestro spent eight long years working on his so-called "wild boar record", a disc which featured Wolfgang Müller, Justus Köhncke, Carsten "Erobique" Meyer, and Paul Kominek, along with Andreas and Dorau. The concept of the album revolved around the separation of these last two participants. An interesting idea on paper --tender songs written by Andreas the artist, heavy bass drummed out by Dorau the party animal. "IbdEvuB" was conceived as an extraordinary album of severance. Fine on paper, yes, but in practice? ... Well, it took eight years, didn't it? Eight years of nerve-shredding fiddling around, but ultimately well worth the effort. House, soft rock, disco, glam pop, blended into a dazzling whole of Andreas and Dorau. Some of it recorded and produced in the garage, the rest in the legendary Can Studio in Weilerswist. Did Andreas and Dorau change the world with Ich bin der Eine von uns Beiden? Probably not, but they did manage to create a magnificent, timeless, electronic pop album which merits rediscovery. That's something! Remastered.
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LP
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TR 466LP
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LP version. Tapete Records present a reissue of Andreas Dorau's Ich bin der Eine von uns Beiden, originally released in 2005 on Mute. Includes such classics as "Kein Liebeslied", "40 Frauen", and "Im September". "Ihr brüllt von Liebe in engen Gewändern / Doch einer wie ich will die Welt noch verändern", sings Andreas Dorau on "Kein Liebeslied", written with Sven Regener. Love was not his chosen subject, he wanted to sing of other things -- wild boar ("Schwarze Furchen"), processions ("40 Frauen"), and the back house where the people come out the front ("Hinterhaus"). It was ever so. The maestro spent eight long years working on his so-called "wild boar record", a disc which featured Wolfgang Müller, Justus Köhncke, Carsten "Erobique" Meyer, and Paul Kominek, along with Andreas and Dorau. The concept of the album revolved around the separation of these last two participants. An interesting idea on paper --tender songs written by Andreas the artist, heavy bass drummed out by Dorau the party animal. "IbdEvuB" was conceived as an extraordinary album of severance. Fine on paper, yes, but in practice? ... Well, it took eight years, didn't it? Eight years of nerve-shredding fiddling around, but ultimately well worth the effort. House, soft rock, disco, glam pop, blended into a dazzling whole of Andreas and Dorau. Some of it recorded and produced in the garage, the rest in the legendary Can Studio in Weilerswist. Did Andreas and Dorau change the world with Ich bin der Eine von uns Beiden? Probably not, but they did manage to create a magnificent, timeless, electronic pop album which merits rediscovery. That's something! Remastered.
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CD
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TR 442CD
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Andreas Dorau's love affair with pop music blossomed early. Long before he had his first top ten hit at the tender age of sixteen, before he became one of a select few German artists to sign to Mute Records and before he hit the French charts with "Girls In Love", little Andreas retreated to his bedroom with a handful of singles -- Sparks, T-Rex, Beatles, Tina Charles, or whoever else was hot in his childhood years -- and listened to these discs over and over again. There he sat, enthralled by the sounds coming out of his Dual-1224 record player. Yet, however much he loved "Sugar Baby Love", "Yellow Submarine", and "Hot Love", the youthful, slightly eccentric (even then) Dorau could not help thinking why didn't they get straight to the point? Why not skip "In the town where I was born ..." for example and launch straight into "We all live in a yellow submarine"? Nice and simple, short and sweet. If music were a sandwich, Dorau would toss the bread and just eat the filling. To the detriment of the fragile vinyl, not to mention the displeasure of his sister (they were her records, after all), he would lift the needle and drop it onto his favored grooves (the chorus). To this day, Andreas Dorau's aversion to verses is as strong as ever. Should one point out to him that his own albums actually contain more than a few verses, the artist is wont to reply: "The record company made me!" The sheer nerve of it! Fortunately, he has now arrived at Tapete Records, a label renowned for giving free rein to libertine spirits. The songs on Das Wesentliche feel all the more opulent for having left so much out. And they are wonderfully brief -- a brilliant move in this internet age of shrinking attention spans. It is a stroke of genius to remove anything and everything which may run the risk of being boring or annoying. Andreas Dorau produced Das Wesentliche together with top producer Zwanie Jonson. Bubblegum, dance, HI-NRG, leftfield electronica, junk shop glam, and yacht rock are all signposted along the way. Dorau is supported by friends like the Marinas, Carsten Erobique Meyer, and Gunther Buskies in his daring endeavors to strip away unnecessary ballast from the music. May his confrères follow his visionary example in the future.
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LP
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TR 442LP
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LP version. Andreas Dorau's love affair with pop music blossomed early. Long before he had his first top ten hit at the tender age of sixteen, before he became one of a select few German artists to sign to Mute Records and before he hit the French charts with "Girls In Love", little Andreas retreated to his bedroom with a handful of singles -- Sparks, T-Rex, Beatles, Tina Charles, or whoever else was hot in his childhood years -- and listened to these discs over and over again. There he sat, enthralled by the sounds coming out of his Dual-1224 record player. Yet, however much he loved "Sugar Baby Love", "Yellow Submarine", and "Hot Love", the youthful, slightly eccentric (even then) Dorau could not help thinking why didn't they get straight to the point? Why not skip "In the town where I was born ..." for example and launch straight into "We all live in a yellow submarine"? Nice and simple, short and sweet. If music were a sandwich, Dorau would toss the bread and just eat the filling. To the detriment of the fragile vinyl, not to mention the displeasure of his sister (they were her records, after all), he would lift the needle and drop it onto his favored grooves (the chorus). To this day, Andreas Dorau's aversion to verses is as strong as ever. Should one point out to him that his own albums actually contain more than a few verses, the artist is wont to reply: "The record company made me!" The sheer nerve of it! Fortunately, he has now arrived at Tapete Records, a label renowned for giving free rein to libertine spirits. The songs on Das Wesentliche feel all the more opulent for having left so much out. And they are wonderfully brief -- a brilliant move in this internet age of shrinking attention spans. It is a stroke of genius to remove anything and everything which may run the risk of being boring or annoying. Andreas Dorau produced Das Wesentliche together with top producer Zwanie Jonson. Bubblegum, dance, HI-NRG, leftfield electronica, junk shop glam, and yacht rock are all signposted along the way. Dorau is supported by friends like the Marinas, Carsten Erobique Meyer, and Gunther Buskies in his daring endeavors to strip away unnecessary ballast from the music. May his confrères follow his visionary example in the future.
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PIC. DISC
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BB 164LP
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2014 RSD release. Previously only available as a limited bonus disc for Andreas Dorau's 50th anniversary retrospective Hauptsache Ich, Silbernes Ich features rarities, outtakes, demos and unreleased songs from the career of the German Ausnahmemusiker. Available on stunning picture vinyl and limited to 500 copies.
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CD
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BB 152CD
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Many musicians dedicate their albums to a person who is close to them (a so-called "muse," often female) who has inspired or is said to have inspired the artist. Or a mysterious, mythical place. In rare and unusual cases, a record is sometimes dedicated to a person who is now estranged from the artist. So far, so boring. Until now, of course. Andreas Dorau, in contrast, has dedicated his new album to a completely different place, a completely different muse: the public libraries of Hamburg. To be precise, the main library on a street called "Hühnerposten." Dorau has spent much of his free time here in recent years. "The library is the little internet for haptic people," said Dorau. "And why should I spend money on books, music or DVDs, if they just gather dust?" Thus, he found the subject matter for this new album: the section for Hamburg History, where he found a passage on the horrific serial killer Fritz Honka ("Tannenduft"); in the science department, on the equally essential and popular element hydrogen ("Wasserstoff"); or simply pondering while gazing out the window ("Bienen am Fenster"). Even the journey there was enough to merit a potential hit ("Faul und bequem"). Taking a taxi to the lending library -- now that's style. The lending library can also lend a helping hand when it comes to music. It costs (almost) nothing. CDs, sheet music, it's all there. So instead of hunting for curios at flea markets or researching in the rather non-sensual Internet, Dorau ended his trips to the library by filling his designer plastic bags with CDs. And at random: "greatest hits" of long-forgotten American beard-bands, recent releases from the ghastly field of "indie rock," top ten atrocities from five years ago, etc. But why that? Dorau: "I wanted to find the good moment on each CD, perhaps a certain harmony, analyze it, and then, well, maybe 'borrow' it for my own songs." So basically the meta-level of the lending library. Or maybe it's rather the realization of the old alchemist's dream of using filth in order to produce gold? Aus der Bibliothèque is the first album Dorau has recorded with a band since 1987. "On my last album Todesmelodien from 2011, I was already experimenting with the idea of a band sound. I wanted to amplify that on this record and create my 'own' band sound." The band sound was provided by Die Liga der gewöhnlichen Gentlemen, brothers in spirit and, incidentally, also friends of the lending library. Dorau's version of a singing and sounding library was created in the studio of the gewöhnliche Gentleman Zwanie Johnson using banjos, saxophones, guitars, drum machines, an old piano, a Höfner violin bass and a great deal more. The result: poppy Krautrock, Beatles-esque sunshine-pop, soft-rock and electronics.
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LP+CD
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BB 152LP
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LP version with CD. Many musicians dedicate their albums to a person who is close to them (a so-called "muse," often female) who has inspired or is said to have inspired the artist. Or a mysterious, mythical place. In rare and unusual cases, a record is sometimes dedicated to a person who is now estranged from the artist. So far, so boring. Until now, of course. Andreas Dorau, in contrast, has dedicated his new album to a completely different place, a completely different muse: the public libraries of Hamburg. To be precise, the main library on a street called "Hühnerposten." Dorau has spent much of his free time here in recent years. "The library is the little internet for haptic people," said Dorau. "And why should I spend money on books, music or DVDs, if they just gather dust?" Thus, he found the subject matter for this new album: the section for Hamburg History, where he found a passage on the horrific serial killer Fritz Honka ("Tannenduft"); in the science department, on the equally essential and popular element hydrogen ("Wasserstoff"); or simply pondering while gazing out the window ("Bienen am Fenster"). Even the journey there was enough to merit a potential hit ("Faul und bequem"). Taking a taxi to the lending library -- now that's style. The lending library can also lend a helping hand when it comes to music. It costs (almost) nothing. CDs, sheet music, it's all there. So instead of hunting for curios at flea markets or researching in the rather non-sensual Internet, Dorau ended his trips to the library by filling his designer plastic bags with CDs. And at random: "greatest hits" of long-forgotten American beard-bands, recent releases from the ghastly field of "indie rock," top ten atrocities from five years ago, etc. But why that? Dorau: "I wanted to find the good moment on each CD, perhaps a certain harmony, analyze it, and then, well, maybe 'borrow' it for my own songs." So basically the meta-level of the lending library. Or maybe it's rather the realization of the old alchemist's dream of using filth in order to produce gold? Aus der Bibliothèque is the first album Dorau has recorded with a band since 1987. "On my last album Todesmelodien from 2011, I was already experimenting with the idea of a band sound. I wanted to amplify that on this record and create my 'own' band sound." The band sound was provided by Die Liga der gewöhnlichen Gentlemen, brothers in spirit and, incidentally, also friends of the lending library. Dorau's version of a singing and sounding library was created in the studio of the gewöhnliche Gentleman Zwanie Johnson using banjos, saxophones, guitars, drum machines, an old piano, a Höfner violin bass and a great deal more. The result: poppy Krautrock, Beatles-esque sunshine-pop, soft-rock and electronics.
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2CD
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BB 146CD
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Bonus first edition featuring a second bonus CD of the rarities collection, Silbernes Ich. January 19th 2014 is Andreas Dorau's 50th birthday. For Bureau B, this is reason enough to release a comprehensive retrospective of the work of the "eternal boy." Hauptsache Ich contains 21 songs from nine albums and spans a period of 32 years, from his first album Blumen und Narzissen (BB 087CD/LP) to his latest work Aus der Bibliothèque. Not bad for someone who never really intended to be a musician. Each of Dorau's albums and even this compilation illustrate Dorau's exceptional position, both lyrically and musically. Every Dorau production is distinguished on the one hand by a hearty dislike of the minor key, countering the otherwise seemingly inevitable German pathos, and a great love of pop music, on the other hand. Training is training: his first hit, "Fred vom Jupiter," which he hates, was created in a school course called "How to Write a Pop Song." Dorau was just 16 at the time. But rather than abandoning a recipe for success, Dorau pursued a different strategy: like a sponge, he soaked up musical and non-musical influences -- whether in the discotheques of Schwabing (Dorau studied film in Munich. Studying music was not for him. Why be an idiot!) or at flea markets in Hamburg, no musical direction is too popular or too obscure for Dorau to deny it a chance to play an important or, now and then, merely modest role as a footnote in his work. While enjoying this compilation, the willing listener will detect traces of house as well as references to Phil Spector, here a pinch of baroque pop, there a hint of techno. Yet it's all Dorau! Lyrics about water fleas, telephones or chambermaids, about the North Sea, democracy or bottle deposits correspond perfectly with the music. By the way, Dorau's favorite album is the White Album by The Beatles. Perhaps it would be taking it too far, but if one were to make this CD into a double album and paint the whole thing white, we would have Dorau's "White Album."
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CD
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BB 147CD
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January 19th 2014 is Andreas Dorau's 50th birthday. For Bureau B, this is reason enough to release a comprehensive retrospective of the work of the "eternal boy." Hauptsache Ich contains 21 songs from nine albums and spans a period of 32 years, from his first album Blumen und Narzissen (BB 087CD/LP) to his latest work Aus der Bibliothèque. Not bad for someone who never really intended to be a musician. Each of Dorau's albums and even this compilation illustrate Dorau's exceptional position, both lyrically and musically. Every Dorau production is distinguished on the one hand by a hearty dislike of the minor key, countering the otherwise seemingly inevitable German pathos, and a great love of pop music, on the other hand. Training is training: his first hit, "Fred vom Jupiter," which he hates, was created in a school course called "How to Write a Pop Song." Dorau was just 16 at the time. But rather than abandoning a recipe for success, Dorau pursued a different strategy: like a sponge, he soaked up musical and non-musical influences -- whether in the discotheques of Schwabing (Dorau studied film in Munich. Studying music was not for him. Why be an idiot!) or at flea markets in Hamburg, no musical direction is too popular or too obscure for Dorau to deny it a chance to play an important or, now and then, merely modest role as a footnote in his work. While enjoying this compilation, the willing listener will detect traces of house as well as references to Phil Spector, here a pinch of baroque pop, there a hint of techno. Yet it's all Dorau! Lyrics about water fleas, telephones or chambermaids, about the North Sea, democracy or bottle deposits correspond perfectly with the music. By the way, Dorau's favorite album is the White Album by The Beatles. Perhaps it would be taking it too far, but if one were to make this CD into a double album and paint the whole thing white, we would have Dorau's "White Album."
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LP
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BB 114LP
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LP version. 180 gram vinyl. In 1988, in a club in Munich, German pop legend Andreas Dorau heard a kind of music which was completely new to him. He remembers it like this: "While we were producing Demokratie, acid house kicked off. It hit me right between the eyes. It was the most incredible thing for me!" Things really took off shortly afterwards, when somebody in England came up with the notion of looping and editing recorded music by other bands. Dorau: "You could pick out your favorite passages from a song, choose the best of the '50s, '60s and '70s and build more or less the perfect song." Endless possibilities! Production techniques were also advancing apace. In 1991 a sampler capable of sampling two minutes cost around 300 Deutsche Marks. Just a few years earlier, such a device would have set the buyer back 10,000 Marks. And so Ärger mit der Unsterblichkeit (Trouble with Immortality) was fashioned in the living room of Dorau's new musical companion, his congenial partner Tommi Eckardt. Eckardt played in a band by the name of Die alternativen Arschlöcher (trans. "The Alternative Assholes") and would later find international fame as one-half of the pop duo 2raumwohnung. A new era, a wonderful time. Musical recordings could be liberally snipped and spliced back together, thus creating brilliant new songs of one's own -- albums emerged from living rooms. It suddenly became possible to produce a proper album at home with equipment costing 1200 Marks. Ärger mit der Unsterblichkeit could well be one of the first German pop albums to have been produced in this manner. Ärger mit der Unsterblichkeit was supposed to be Dorau's final regular album for Ata Tak. But why? Dorau: "I would have been happy to stay with Ata Tak. But the indie music story was growing increasingly perverse. There were boxes for 'indie.' Electronic music wasn't allowed in. Indie meant guitars. So I had to move to a major, where my records would be labelled 'pop.' Ata Tak was an indie. And they wouldn't have put my records in the indie section. All of a sudden, 'indie' had ceased to be synonymous with independently produced music, it had become a genre. I would have liked to have stayed at Ata Tak." And how was the record received? Dorau: "Our rave rigmarole left live audiences nonplussed. Once the album was released, I was seen as some kind of sick character." Others have been tarred with the same brush, have they not? Often, all too often, the best.
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LP
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BB 113LP
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LP version. 180 gram vinyl. German new wave (Neue Deutsche Welle, NDW) reached its peak in 1983. In the public eye, Andreas Dorau was considered an important representative of NDW. But the sensitive artist had no desire to be thrown in the same basket as the terrible monstrosities of what had become a commercially exploited trend. Not that he felt any closer to the contemporary "underground" music of the day. "All far too dark. I didn't want to have anything more to do with music. Back then underground music wasn't allowed to be melodic. The dominant belief was: melody = stupid. And I wanted melodies." Dorau turned his back to the music business and moved to Munich and took his film studies seriously. Until one day, Ata Tak founder Moritz Rrr called him up and asked Dorau if he fancied an informal exchange of ideas with artists from Berlin, no strings attached. He did fancy it, and slowly but surely, he began to have fun again with music. At the same time, Dorau amassed a formidable record collection, largely from the 1960s. And so names like The Left Banke, Van Dyke Parks and The Move rotated on his record player. The idea to make a new album dawned on him gradually. Dorau recorded, discarded material, wrote lyrics, overdubbed, arranged, discarded more material. So, he would rearrange, one track after another, so on and so forth. It was clearly a painstaking process. Still, a few songs fell into place. What he needed now was a producer. Off he went, to Birmingham to enlist his idol Roy Wood (The Move, ELO) as his producer. It could have been the beginning of a beautiful musical collaboration, if Wood had not happened to play an album by his favorite artist at that time. Dorau was back on the train to London before the first side of No Jacket Required had ended. Efforts to enlist Peter Thomas as producer also came to nothing and Dorau ultimately decided to take care of the job himself. David Cunningham (Flying Lizards) helped Dorau to enlist the English composer Michael Nyman as arranger on Demokratie. Says Dorau: "I wanted to create pop music, as far as possible without guitars, simply different." Baroque pop/Roy Wood/Michael Nyman/melodies/no guitars, or thereabouts/electronics/Mayo Thompson also gets in on the act: an interesting mix!
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CD
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BB 114CD
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In 1988, in a club in Munich, German pop legend Andreas Dorau heard a kind of music which was completely new to him. He remembers it like this: "While we were producing Demokratie, acid house kicked off. It hit me right between the eyes. It was the most incredible thing for me!" Things really took off shortly afterwards, when somebody in England came up with the notion of looping and editing recorded music by other bands. Dorau: "You could pick out your favorite passages from a song, choose the best of the '50s, '60s and '70s and build more or less the perfect song." Endless possibilities! Production techniques were also advancing apace. In 1991 a sampler capable of sampling two minutes cost around 300 Deutsche Marks. Just a few years earlier, such a device would have set the buyer back 10,000 Marks. And so Ärger mit der Unsterblichkeit (Trouble with Immortality) was fashioned in the living room of Dorau's new musical companion, his congenial partner Tommi Eckardt. Eckardt played in a band by the name of Die alternativen Arschlöcher (trans. "The Alternative Assholes") and would later find international fame as one-half of the pop duo 2raumwohnung. A new era, a wonderful time. Musical recordings could be liberally snipped and spliced back together, thus creating brilliant new songs of one's own -- albums emerged from living rooms. It suddenly became possible to produce a proper album at home with equipment costing 1200 Marks. Ärger mit der Unsterblichkeit could well be one of the first German pop albums to have been produced in this manner. Ärger mit der Unsterblichkeit was supposed to be Dorau's final regular album for Ata Tak. But why? Dorau: "I would have been happy to stay with Ata Tak. But the indie music story was growing increasingly perverse. There were boxes for 'indie.' Electronic music wasn't allowed in. Indie meant guitars. So I had to move to a major, where my records would be labelled 'pop.' Ata Tak was an indie. And they wouldn't have put my records in the indie section. All of a sudden, 'indie' had ceased to be synonymous with independently produced music, it had become a genre. I would have liked to have stayed at Ata Tak." And how was the record received? Dorau: "Our rave rigmarole left live audiences nonplussed. Once the album was released, I was seen as some kind of sick character." Others have been tarred with the same brush, have they not? Often, all too often, the best. Includes two bonus tracks.
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CD
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BB 113CD
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German new wave (Neue Deutsche Welle, NDW) reached its peak in 1983. In the public eye, Andreas Dorau was considered an important representative of NDW. But the sensitive artist had no desire to be thrown in the same basket as the terrible monstrosities of what had become a commercially exploited trend. Not that he felt any closer to the contemporary "underground" music of the day. "All far too dark. I didn't want to have anything more to do with music. Back then underground music wasn't allowed to be melodic. The dominant belief was: melody = stupid. And I wanted melodies." Dorau turned his back to the music business and moved to Munich and took his film studies seriously. Until one day, Ata Tak founder Moritz Rrr called him up and asked Dorau if he fancied an informal exchange of ideas with artists from Berlin, no strings attached. He did fancy it, and slowly but surely, he began to have fun again with music. At the same time, Dorau amassed a formidable record collection, largely from the 1960s. And so names like The Left Banke, Van Dyke Parks and The Move rotated on his record player. The idea to make a new album dawned on him gradually. Dorau recorded, discarded material, wrote lyrics, overdubbed, arranged, discarded more material. So, he would rearrange, one track after another, so on and so forth. It was clearly a painstaking process. Still, a few songs fell into place. What he needed now was a producer. Off he went, to Birmingham to enlist his idol Roy Wood (The Move, ELO) as his producer. It could have been the beginning of a beautiful musical collaboration, if Wood had not happened to play an album by his favorite artist at that time. Dorau was back on the train to London before the first side of No Jacket Required had ended. Efforts to enlist Peter Thomas as producer also came to nothing and Dorau ultimately decided to take care of the job himself. David Cunningham (Flying Lizards) helped Dorau to enlist the English composer Michael Nyman as arranger on Demokratie. Says Dorau: "I wanted to create pop music, as far as possible without guitars, simply different." Baroque pop/Roy Wood/Michael Nyman/melodies/no guitars, or thereabouts/electronics/Mayo Thompson also gets in on the act: an interesting mix! Includes two bonus tracks.
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CD
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BB 087CD
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If it had been up to Andreas Dorau's teacher, "Fred Vom Jupiter," his biggest hit, would never have seen the light of day. The 16 year-old Dorau wrote the song during project week at school and his tutor was of the opinion that the composition was therefore the intellectual property of his institute of learning. Luckily, the teacher in question didn't get his way. And, as they say, the rest is history. In the year 1981, the small, cool Düsseldorf label Ata Tak first released "Fred Vom Jupiter" as a single, selling 20,000 copies in the space of a few months, followed up by the Blumen Und Narzissen LP. It is a strange album, for the most part conceived and executed by a 16 year-old on a family holiday in the mountains. And what is even more extraordinary: it was successful. For Blumen Und Narzissen was a pop album, and when one considers the time (1981) and place (FRG) of its creation, then nothing would have appeared to have had less of a chance of success than a pop album in Germany. The mainstream charts were led by the Smurfs and Ernst Mosch, bars and discos resounded to the sound of Deutschrock and blues, while beyond the mainstream, well-meaning tree-huggers and punks ruled the roost -- two marginal groups whose seriousness was a bore. A tiny niche was occupied by Dorau's soulmates, the likes of Der Plan, Palais Schaumburg et al, but in this very niche they were destined to remain. Blumen Und Narzissen is -- even decades later -- a great album. Dorau had actually planned on issuing not just the one single on Ata Tak, but ten further singles, each on a different independent label he admired. Thus Blumen Und Narzissen sounds just like that: a collection of singles. "Nordsee," "Junger Mann," and "Tulpen Und Narzissen" certainly had the potential to become hits. Connoisseurs will note parallels to the golden years of pop: singles, a girl group (Die Marinas), a passion for style. And now? Not much has really changed. The German charts continue to showcase an equally gruesome parade of local talent. And because good pop music is good pop music, Blumen Und Narzissen has found and will continue to find fans both at home and abroad. Both strange and contrary, Blumen Und Narzissen sounds neither old-fashioned nor 30 years old. Housed in a digipak with liner notes, rare photos and six bonus tracks which appear on CD for the first time.
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LP
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BB 087LP
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LP version. If it had been up to Andreas Dorau's teacher, "Fred Vom Jupiter," his biggest hit, would never have seen the light of day. The 16 year-old Dorau wrote the song during project week at school and his tutor was of the opinion that the composition was therefore the intellectual property of his institute of learning. Luckily, the teacher in question didn't get his way. And, as they say, the rest is history. In the year 1981, the small, cool Düsseldorf label Ata Tak first released "Fred Vom Jupiter" as a single, selling 20,000 copies in the space of a few months, followed up by the Blumen Und Narzissen LP. It is a strange album, for the most part conceived and executed by a 16 year-old on a family holiday in the mountains. And what is even more extraordinary: it was successful. For Blumen Und Narzissen was a pop album, and when one considers the time (1981) and place (FRG) of its creation, then nothing would have appeared to have had less of a chance of success than a pop album in Germany. The mainstream charts were led by the Smurfs and Ernst Mosch, bars and discos resounded to the sound of Deutschrock and blues, while beyond the mainstream, well-meaning tree-huggers and punks ruled the roost -- two marginal groups whose seriousness was a bore. A tiny niche was occupied by Dorau's soulmates, the likes of Der Plan, Palais Schaumburg et al, but in this very niche they were destined to remain. Blumen Und Narzissen is -- even decades later -- a great album. Dorau had actually planned on issuing not just the one single on Ata Tak, but ten further singles, each on a different independent label he admired. Thus Blumen Und Narzissen sounds just like that: a collection of singles. "Nordsee," "Junger Mann," and "Tulpen Und Narzissen" certainly had the potential to become hits. Connoisseurs will note parallels to the golden years of pop: singles, a girl group (Die Marinas), a passion for style. And now? Not much has really changed. The German charts continue to showcase an equally gruesome parade of local talent. And because good pop music is good pop music, Blumen Und Narzissen has found and will continue to find fans both at home and abroad. Both strange and contrary, Blumen Und Narzissen sounds neither old-fashioned nor 30 years old. On 180 gram vinyl with a printed innersleeve with photos and liner notes.
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CD
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BB 088CD
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...Antworten Auf Brennende Fragen. After the success of his debut album Blumen Und Narzissen (1981), featuring his "Fred Vom Jupiter" hit, German new wave/pop upstart Andreas Dorau was urged by his new record company, Teldec, to come up with a sophomore effort as soon as possible. To bridge the gap, Dorau first released a single entitled "Kleines Stubenmädchen," a jaunty number with amusing lyrics and a professional, radio-friendly production. But Dorau had not reckoned with the sensitivity of the censors: the humorless sexism detector ruthlessly raised the alarm amongst the radio stations. Those making the decisions at Teldec had the odd idea of asking Dorau to record an apology or explanation on cassette for radio programmers to play either before or after the incriminating song. Dorau could have filled a whole cassette to clarify the subject, perhaps even upholding a claim to artistic freedom. But -- doffing his cap to the spirit of punk -- Dorau naturally rejected the suggestion. A shame. Teldec lost interest in Dorau and the album was released on CBS -- minus "Stubenmädchen," of course. A far greater problem loomed, however: the musical landscape of the Federal Republic of Germany had changed since the release of Blumen Und Narzissen. Major record companies had radically commercialized what Alfred Hilsberg had once benevolently termed "Neue Deutsche Welle" (NDW)/German New Wave (thinking of bands such as Fehlfarben, Der Plan, D.A.F.). They remolded rock bands into new wave bands, wrote idiotic ditties and had clueless jumping jacks and jills perform them. One can imagine that Dorau did not exactly jump for joy when he realized he was about to be lumped in with the rest of them. The relationship between Dorau and his sophomore work was clouded from the word "go." And it still is. Although it is actually a really good record: from the psychedelic lyrics of "Polizist," "Sandkorn" and "Texas" to beautiful observations of daily life ("Feierabend"), the music meanders its way through snappy pop, bossa nova, exotica, disco and new wave. A certain, unique strain of psychedelia courses through the whole album, detectable in the cover, the lyrics and the instrumentation. Of course, there's a world of difference between Die Doraus Und Die Marinas Geben Offenherzige Antworten Auf Brennende Fragen (trans. "The Doraus And Marinas Give Openhearted Answers To Burning Questions") and the "idiots of NDW." But try explaining that to the man on the street. By the way: "Kleines Stubenmädchen" is included on this re-release as a bonus track, along with three others. Housed in a digipak with liner notes and rare photos.
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LP
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BB 088LP
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...Antworten Auf Brennende Fragen. LP version. After the success of his debut album Blumen Und Narzissen (1981), featuring his "Fred Vom Jupiter" hit, German new wave/pop upstart Andreas Dorau was urged by his new record company, Teldec, to come up with a sophomore effort as soon as possible. To bridge the gap, Dorau first released a single entitled "Kleines Stubenmädchen," a jaunty number with amusing lyrics and a professional, radio-friendly production. But Dorau had not reckoned with the sensitivity of the censors: the humorless sexism detector ruthlessly raised the alarm amongst the radio stations. Those making the decisions at Teldec had the odd idea of asking Dorau to record an apology or explanation on cassette for radio programmers to play either before or after the incriminating song. Dorau could have filled a whole cassette to clarify the subject, perhaps even upholding a claim to artistic freedom. But -- doffing his cap to the spirit of punk -- Dorau naturally rejected the suggestion. A shame. Teldec lost interest in Dorau and the album was released on CBS -- minus "Stubenmädchen," of course. A far greater problem loomed, however: the musical landscape of the Federal Republic of Germany had changed since the release of Blumen Und Narzissen. Major record companies had radically commercialized what Alfred Hilsberg had once benevolently termed "Neue Deutsche Welle" (NDW)/German New Wave (thinking of bands such as Fehlfarben, Der Plan, D.A.F.). They remolded rock bands into new wave bands, wrote idiotic ditties and had clueless jumping jacks and jills perform them. One can imagine that Dorau did not exactly jump for joy when he realized he was about to be lumped in with the rest of them. The relationship between Dorau and his sophomore work was clouded from the word "go." And it still is. Although it is actually a really good record: from the psychedelic lyrics of "Polizist," "Sandkorn" and "Texas" to beautiful observations of daily life ("Feierabend"), the music meanders its way through snappy pop, bossa nova, exotica, disco and new wave. A certain, unique strain of psychedelia courses through the whole album, detectable in the cover, the lyrics and the instrumentation. Of course, there's a world of difference between Die Doraus Und Die Marinas Geben Offenherzige Antworten Auf Brennende Fragen (trans. "The Doraus And Marinas Give Openhearted Answers To Burning Questions") and the "idiots of NDW." But try explaining that to the man on the street. By the way: "Kleines Stubenmädchen" is included on this re-release as a bonus track, along with three others. On 180 gram vinyl with a printed innersleeve with photos and liner notes.
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12"
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12MUTE TT
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Remixed by DJ Koze, T.Raumschmiere and the Teichmann Bros. Dorau was a member of the legendary Ata Tak band Der Plan!
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CD
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CT 403
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Japanese-only reissue. "The third album of German Pop singer in 1988 on Ata Tak, Lyrical cute songs. For those who like guitar pop."
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