OMD’s Andy McCluskey said: “Musically we are much more the sons of Düsseldorf than we are the sons of Liverpool. KRAFTWERK, NEU! and LA DÜSSELDORF were so much more influential on us than THE BEATLES”.
Meanwhile ULTRAVOX’s Chris Cross adds: “Personally I would have loved to have been in a band like LA DÜSSELDORF” – First published in German during the Spring of 2015, Rudi Esch’s ‘ELECTRI_CITY – Elektronische Musik Aus Düsseldorf’ gave a fascinating insider’s account of the Germany’s influential post-war music scene which was centred around Düsseldorf.
Rudi Esch came to prominence as the bassist of industrial trailblazers DIE KRUPPS whom he joined in 1988, but prior to that, he was in DIE ENGEL DES HERRN with the mercurial Klaus Dinger of NEU! and LA DÜSSELDORF fame. The book takes an unusual format in that it features a series of parabites.
Pieced together from over fifty exclusive interviews, to tell the story of The Düsseldorf School and its cultural significance. This makes the text easily digestible and is certainly a preferred layout compared to the more tedious documents that have been published about musik von die Bundesrepublik over the last few years.
Interviewees include Michael Rother, Klaus Dinger, Wolfgang Flür, Daniel Miller, Paul Humphreys, Andy McCluskey, Martyn Ware, Glenn Gregory, Chris Cross, Ryuichi Sakamoto, Giorgio Moroder and Rusty Egan who gives one of the funniest quotes: “To me, the Germans made cars and rockets. Mercedes and Messerschmitt were the names I knew before KRAFTWERK”.
“Düsseldorf is the capital of electronic music” says Esch, as he gives an account of how the Düsseldorf electronic scene developed from 1970 to 1986 with acts like KRAFTWERK, LA DÜSSELDORF, DER PLAN, LIAISONS DANGEREUSES, RIECHMANN, RHEINGOLD, PROPAGANDA, DAF and NEU!
In those early days, the choice of instrumentation was dictated by money. Ralf Hütter and Florian Schneider-Esleben both came from affluent millionaire families, with the latter’s father a prominent architect who oversaw the redesign of the Cologne-Bonn Airport.
As expensive as synthesizers were back then, the more avant-garde types tended to prefer EMS equipment as it did not come with a keyboard, while those who liked melody opted for the Minimoog. KRAFTWERK of course bought both! But as former member Ebehard Kranemann remembers “KRAFTWERK was not about the money, it was about the music”.
And with his Farfisa organ and its preset rhythm accompaniment, Hütter became fascinated with mechanical percussive templates and goaded their then-drummer Klaus Dinger with his proclamation that it was “the fastest drummer in the world”.
Klaus Dinger and Michael Rother were working class boys, which influenced their pursuit of a more organic approach and ultimately led to them flying the KRAFTWERK nest to form NEU! While Rother had the talent and an easy going manner, Dinger had ambition and his forthright tendencies did not win him many friends. “With Klaus, you never knew if he would give you a headbutt or an invitation to dinner…” says Wolfgang Flür, “…all in all, I didn’t like him”.
Dinger was explosive, confrontational and unpredictable. In KRAFTWERK, while Hütter and Schneider had their neon lit signs with their first names in blue, he wanted one with ‘Klaus’ in red! When Colgate offered to pay a substantial amount of money to use LA DÜSSELDORF’s hit ‘Rheinita’ in a TV advert, he declined. There was also the incident of him breaking journalist Konrad Schalensick’s nose following a negative review of their second album ‘Viva’.
The signs were there from the start, with Dinger playing rhythmic guitar alongside Rother’s melodic interplay, not satisfied with just being the drummer. So without Conny Plank to act as buffer and referee, NEU! would never have lasted for three albums. The silent partner in NEU! who recognised talent and created an atmosphere for musicians to experiment, Plank was without doubt a factor in the second side of ‘Neu! 2’ being filled with speeded up and slowed down variations of a previously issued single.
The thorny issue of KRAFTWERK’s treatment of Conny Plank is discussed in the book; “I don’t know where KRAFTWERK would be today if it wasn’t for Conny” says Hans Lampe, assistant to Plank and later to become a member of LA DÜSSELDORF.
However, Plank did accept 5000 Deutschmarks (a lot of money in 1974!) which bought him out of the co-producer credit on ‘Autobahn’ after it was licensed and edited for release by Capitol Records in America.
Another discussion point is Karl Bartos‘ contribution to KRAFTWERK as he wrote many of the melodies as ‘the kraftsman’. According to Michael Mertens of PROPAGANDA who was a conservatoire classmate: “Karl understood that to make popular music, you had to retain some degree of naivety”.
Classical music education played an important role and it appeared in the most unlikely of places. DAF’s Robert Görl had much in common with Karl Bartos and Michael Mertens, although Görl says: “Wir wollten lieber mit Maschinen arbeiten. We always preferred working with machines”.
During the post-punk period, just as Liverpool had Eric’s, Manchester had The Factory and London had The Blitz, Düsseldorf had a creative centre emerge around Die Ratinger Hof.
Affordable synths from Japan such as the Korg MS20 were a game changer for younger bands like DAF and DIE KRUPPS as they found their sound.
However, there was an important distinction between synths and keyboards as Kurt Dahlke of DER PLAN and PYROLATOR explains: “I insist that I am never credited as a keyboardist on records. A keyboard player is some kind of all-round entertainer, sat at his keyboard using various presets. I insist on synthesizer”.
While KRAFTWERK were a reaction to the Americanisation of popular culture in Germany, the next generation of more forthright and aggressive acts like DIE KRUPPS and DAF were a reaction to KRAFTWERK. Jürgen Engler mentions “I hadn’t bought a single KRAFTWERK album” while Gabi Delgado comments that “To me, KRAFTWERK were sounding too boring, too beautiful, too sedate and too sterile” and even adds “Sequencers and Moroder. That was more important for electronic music than the entire legacy of KRAFTWERK, NEU! and LA DÜSSELDORF”.
DAF’s preference for a militaristic aesthetic caused controversy and confused observers, but from the off, they were out to shock. They attracted a following which Gabi Delgado hated; his parents had escaped from the Fascist Franco regime in Spain. However, their early sequencer guru Chrislo Haas was less bothered and flirted with the ideology as a fashion statement.
Their manager Bob Giddens reckons “DAF kind of overdid it later on with their hyper-Germaness” and as they hit the peak of their success, Ralf Dörper reckons they disappeared in a haze of “Sex, drugs and sequencer”. Haas eventually left DAF and went on to form alternative club favourites LIAISONS DANGEREUSES in a charged partnership with Beate Bartel of MANIA D.
Of course, all this is only a small part of the story. The visionaries, technicians and eccentrics who played their part like the late Gunter Körber (A&R for Metronome and Brain Records who later founded the Sky label that issued key albums by Michael Rother and Wolfgang Riechmann), inventor Werner Lambertz and Florian Schneider’s sister Claudia also give their takes on the scene.
The book appropriately ends its coverage in 1986, when KRAFTWERK’s ‘Electric Café’ disappointed many and led to the departure of Messrs Flür, Bartos and eventually Schneider.
Photo by Anton Corbijn
But fast forward to 2017 and Düsseldorf has come to terms with one of its biggest cultural exports and is now happy to celebrate the city’s influence on musicians and artists all over the world.
However, the final word has to go to the departed Klaus Dinger: “A lot of people may have helped themselves to the stuff we developed, and then made big bucks abroad. But nevertheless I’d go as far as saying: this was only ever possible in D-U-S, my home town Düsseldorf”.
Zeus B Held is the veteran German producer and remixer who has been a key presence in the development of electronic pop music.
Making his name as a keyboard player in the progressive rock band BIRTH CONTROL, he later progressed as a session musician, solo artist and producer. His vocoder layered cover of THE BEATLES’ ‘Fool On The Hill’ became a favourite of Belgian sibling duo SOULWAX.
His production breakthrough came from working with GINA X PERFORMANCE in 1979 when the single ‘No GDM’ became an underground club favourite. As a result, he worked with the likes of FASHION, DEAD OR ALIVE, DIE KRUPPS and John Foxx while also remixing ALPHAVILLE, SIMPLE MINDS and Gary Numan. Other acts who benefited from his musicality and sound design were MEN WITHOUT HATS, SPEAR OF DESTINY, TRANSVISION VAMP and Nina Hagen.
Later, Held moved into more jazzy grooves and while resident in Australia, he led a World Music collective featuring Aboriginal musicians and released an album called ‘Digital Dreaming’. He returned to electronic music in 2015 with the release of ‘Logic of Coincidence’ via Les Disques du Crépuscule, a largely ambient imaginary film soundtrack.
Almost simultaneously, he teamed up with former TANGERINE DREAM member Steve Schroyder to form the appropriately named DREAM CONTROL. The pair are releasing their first album ‘Zeitgeber’, a largely uptempo electronic record that could potentially satisfy the headspaces of proggers and the feet of clubbers.
While in the UK on a short promotional trip for ‘Zeitgeber’, Zeus B Held kindly stopped for coffee to chat to ELECTRICITYCLUB.CO.UK about DREAM CONTROL and his vast production portfolio.
You took a break into jazz and world music, what has brought you back into working in electronic pop again?
After I left England in 2003, I did a few different things like working around the ZKM Karlsruhe on more theoretical aspects of music and teaching. Call this lecturing “transfer of knowledge” which is ok and I still do it, but I am more interested in making music. In 2013, I had four weeks in Japan where I locked myself away with a couple of synthesizers; I really enjoyed that and rediscovered that it was the core of what I do best and what I want to do. This is what became ‘Logic Of Coincidence’.
Did the improvements in digital technology make your return much easier?
Not really, because the actual physical hands-on experience when you work with sequencers, moving sliders and twiddling knobs is a much more sensual action than if you programme it or do it with a mouse. I think there’s a big difference, like between virtual and real action-response.
I started the album with lots of virtual instruments, a master keyboard and a Moog Source. Then I replaced them slowly and as I was doing this, it confirmed my thoughts about the differences between the virtual and real thing.
I remember a time when I was a bit tired of those sounds, not realising that these sounds were the signature of what I’ve been doing! And it took a few years for me to realise those are my tools! And that’s what happened in the solitude of my Japanese hut…
What synths do you have?
I still have a Minimoog, Moog Source, Prophet VS, Oberheim 4 Voice, PPG wave, Korg Prophecy and through Steve, I got access to the Memory Moog which is an amazing machine. I also have a collection of rack mounted synths including a Nordlead and an Oberheim DBX1. But there are some instruments which I sold – that I shouldn’t have, but there you go…
Which ones do you regret selling then?
Oh, the Polymoog and the ARP 2600 which I am looking to getting back, or something similar. I went to this year’s Superbooth in Berlin and I could see there is a new wave of old style analogue synths coming up from all over the world; it’s been a really good experience to meet so many other synthesizer freaks.
What is the direction you are taking in DREAM CONTROL, how different is it from ‘Logic Of Coincidence’?
It was amazing that Steve’s and my life were running parallel without us ever meeting each other and incredibly, he also lives in Freiburg, streets away where I am now. So it happened to be another ‘Logic Of Coincidence’ *laughs*
On our first studio session, we played around with some chords and rhythms – I played various synths and piano, added some sequences and experimented with vocoder lines. It all fitted and we both really enjoyed this new form of jamming and improvising on the spot, sometimes being amazed how our individual music and sound became one… you listen, you play and you answer, you throw a ball in, it’s just playing and responding. And that is something me and Steve can do on all kind of electronic instruments. When you create music, it should be playful.
How would you describe the sound of ‘Zeitgeber’, given Steve’s history with TANGERINE DREAM and your own background?
This album has a lot of energy in it, definitely not just a dreamy ambient album. Steve introduced me to the natural law of the “Cosmic Octave”, which is a different approach to frequency and rhythm definition.
After I experienced the difference to the standard concert pitch, I was happy to do the entire ‘Zeitgeber’ album with this method. And yes, you can hear the difference. Overall it is an instrumental album with a good deal of vocoder. There is also assorted overtone singing and some other vocal elements by two female singers.
Because of our name and history, we decided to rework one TANGERINE DREAM song and one BIRTH CONTROL song ‘Gamma Ray’, although later we dropped the TD track from this album.
Is ‘Kant Can Dance’ representative of the album?
I would say yes and no! It is the existing link to my ‘Logic of Coincidence’ album, but it’s in the spirit of us both. ‘Gamma Ray’ and ‘Kant Can Dance’ are the more accessible tracks of the album. The other tracks, like for example ‘Tomaga’ are deeper journeys into sound and unknown spaces.
Although you served your apprenticeship with BIRTH CONTROL, you went solo…
BIRTH CONTROL was a progressive rock band, doing lots of gigs all over Europe, but mainly in Germany. I was always doing my 15 to 20 minute keyboard solo which actually became my first solo album! *laughs*
Slowly I was moving more into electronics, away from the EMERSON, LAKE & PALMER and DEEP PURPLE thing. By pure coincidence, I became neighbours with Conny Plank’s studio and I realised that you can do different sound work in the studio and that’s how I did my solo stuff; I discovered the vocoder which made me develop my own singing approach – and guess, I was glad not to have to deal with a singer’s ego! *laughs*
With electronic pop producers of the era like yourself, Mike Howlett, Trevor Horn, Stephen J Lipson and Steve Hillage, there appears to be this connection with progressive rock?
I am sure there is a theoretical connection, the spirit of the time. But for me, it was my own development from thinking in chords, melodies and the traditional compositional building blocks to learn how to work with sequencers, machines and multi-tracks; I remember very well when I did this 2 minute track ‘M.P.C.’ on BIRTH CONTROL’s ‘Rebirth’ album, by discovering the Mellotron. I spontaneously put strings, flute sounds and choir together and played an impressionistic piano on top, all in an hour, while the other guys were having lunch. I got so inspired by sounds and multi-tracking, I learned to understand the studio as an instrument.
You became more widely known in the UK for producing GINA X PERFORMANCE and ‘No GDM’, what was the creative dynamic between you and her?
I wanted to make an album with vocoder, drums and only synthesizers and I wanted to make it really cold, no bluesy chords or melodies, no guitar and nothing rocky. I had in mind science fiction inspired tracks, also possible songs for the ROCKETS next album. Gina was an art student and was really into cutting edge art and music.
We became a creative unit and I invited her into the studio, maybe to put some spoken words on the recordings – she developed from this, her own way of singing. With ‘No GDM’, she wrote the lyrics in the café upstairs of the Cologne Studio Am Dom after she saw the ‘Naked Civil Servant’ film; so when she stepped in front of the microphone she transformed herself as well as the track. She put that particular life into my music, effortless and free of clichés.
What were peoples’ reactions to what you both did?
It was an amazing experience for both of us, but at first, nobody was interested because this was a non pigeon hole-able unheard music. I’ll never forget when this studio mastering engineer in Cologne put the ‘Nice Mover’ album on the spectrum analyser and said “Look here at the frequencies, this can’t work! Nobody wants to listen to that!”*laughs*
But we found a little label and suddenly people started to like it. It came from three places where we had the best feedback; there was Rusty Egan and The Blitz Club, Austrian main radio where it entered the charts and Canada… this all took about a year to happen.
So this led to you coming to the UK and working with Birmingham band FASHION?
What also led me to FASHION was my vocoder production for a French / Italian band called ROCKETS. I went to the Midem, the annual music event in Cannes, to sell my first solo album and I passed this stand where I saw a video with five silver painted guys playing a slightly futuristic rock song ‘Future Woman’ using a voice box.
I thought “this would be so much better with a vocoder” and I asked to speak to their manager – after he heard my stuff, I was in. A week later, I was in Paris recording a cover of CANNED HEAT’s ‘On The Road Again’ and it became the ROCKETS’ big European hit.
FASHION heard this and also liked GINA X PERFORMANCE – so eventually a guy from Arista Records asked me to listen to their demos and I liked it. I particularly liked it because Dee Harris, the main songwriter and front man, also played a wicked Roland guitar synth in a slightly jazz-funky way; in those days the only other guitar synth player I knew was Pat Metheny on his group’s ‘Offramp’ album. The ‘Fabrique’ album was recorded in Cologne, Paris and London, it was nicely developed over six months.
You also worked on the next FASHION album ‘Twilight Of Idols’ which closed with the brilliant instrumental title track…
Well… ‘Twilight Of Idols’ was FASHION Mark 2, it’s OK, but for me it was a compromise. The second version of FASHION with Alan Darby on guitar and vocals and songs like ‘Hurricane’, for me, it was stylistically too close to the overcrowded field of mainstream rock.
FASHION’s first album with Dee Harris was his subtle funk and jazzy chord structures, influenced by American songwriting and this particular mixture of electronics from me applying my Germanic sequencers. Lately, 35 years after its making, I have been asked to overhaul ‘Fabrique’ with Dee Harris, so I can assure that we’ll eventually be working on that.
At one point, FASHION were rated higher than DURAN DURAN on the Birmingham scene but of course, it was DURAN DURAN who broke big, what’s your take on it?
In Birmingham, FASHION and DURAN DURAN were rehearsing in the same building when I got involved. DURAN DURAN were already ahead in the game, having a few singles out with EMI while FASHION were just entering the major pop arena. As much as I like Mr Simon Le Bon, I think Dee Harris was a different calibre as a vocalist – but there you go, the DURAN DURAN guys just went a fair bit faster, were better managed and they administered one hit after another!
Unfortunately after ‘Fabrique’ was finished, some chemical reaction in certain brains caused the ‘Fabrique’ line-up to collapse and the album had to be buried by Arista. Their German and American labels hugely believed in the group and things could have been different, but FASHION didn’t really enter the league they should have been in.
How did working with John Foxx on ‘The Golden Section’ come about?
I was a big fan of John’s ‘Metamatic’ album. He had the same publisher as Gina X who also was his manager. John had been working with Mike Howlett, but it wasn’t working out for various reasons… and he had discovered THE BEATLES! I told John that it should be more about sound and noisy abstract tunes but he wanted melodies with second and third harmonies. *laughs*
We were working in his studio The Garden in Shoreditch and it was his solo album, so I was there to make his vision happen. I guess our collaboration was not a very successful one as he pulled too far away from his roots, something that he later realised “ooops”! I helped him but I was torn, I had to make the best out of it.
I wanted to bin songs and put more sequencers on others as it would have been more suitable and appreciated by his existing fan base, but he galloped into ‘The Golden Section’. John is a multi-talented, very intelligent artist and we met at an interesting moment in our lives, but we didn’t make the kind of mutual masterpiece which we could have done.
You then went on to producing DEAD OR ALIVE, your work with them had an amazing rhythmic element to it, how did you achieve that?
They loved Patrick Cowley and Sylvester, that uptempo HI-NRG gay disco. I often went to the Heaven club during those days and listened to that music, I really liked this irresistible drive and energy. They brought many of those elements to the table themselves. We started to work on ‘Sophisticated Boom Boom’ with Wayne Hussey on guitar, thus getting a slightly gothic element which I quite liked.
But Wayne and his guitar were sacked relatively early during the production, you can hear his guitar best on the first single ‘Misty Circles’. For me, producing DEAD OR ALIVE was a mixture of sound-styling as well as making sure Pete Burns’ mighty vocal performance had the right backing. We got on fine, but there were moments when we argued about what’s best for the arrangement and dynamics. Sometimes I offered ten ideas and they’d take one and a half… I guess that’s part of the producing process…
So in DEAD OR ALVE, had the sequence programming been done by Tim Lever and you were sweetening it for the final recording, or were you redoing it?
It was a bit of both, some tracks came with some basic sequences to start with, others we started from scratch. I brought along my Moog and ARP 2600 to fill up the space. For drums we used mainly the Oberheim DMX, a Linn Drum and sounds from the Akai S1000. We also had a Korg drum machine but they didn’t like the TR808; it’s funny, when I worked with KILLING JOKE, they hated the 808 as well.
After all these British artists, what was it like to work with a German act like DIE KRUPPS in 1985?
With John Foxx and DEAD OR ALIVE, we had more open ended concepts. DIE KRUPPS were more German, much more “korrekt” and “…it’s all been worked out!”*laughs*
They pretty much had worked out how their tracks should be structured but by playing around with the Fairlight, we found space for new ideas and sounds. In the end, a lot of the ‘Entering The Arena’ album was Fairlight based. Listening back to it now, I feel we were close to a real classic. And somehow we wanted to hold our own against PROPAGANDA, but this was tricky because PROPAGANDA’s production budget was in a different range. We had a limited budget and the LP was released by the Virgin sub-label Statik, whose claim to fame was MEN WITHOUT HATS who I later worked with.
How did you find the move into the world of the Fairlight and digital in general?
I wanted to master the Fairlight and luckily enough, Octave Hire, a London rental company based in the Docklands, left one with me at my basement flat in Earls Court when it wasn’t being used. I spent days and nights on end to dive into this new world of sampling and sequencing. I’ll never forget how I once got stuck and someone suggested to phone this guy Hans Zimmer who was also working with one and had a studio in Fulham called The Snake Ranch. He came to my house and showed me a few tricks. When he spoke in his Bavarian accent, I realised there was another “Deutsch Musik Mann” in my London hood! *laughs*
I used the Fairlight on the last Gina X album ‘Yinglish’ and it was here when I met JJ Jeczalik, a real expert on the CMI. We made a deal: I’ll get him a few studio gigs, teach some musical basics and give him sounds and samples which went into his library – some of them ended up on the first record by THE ART OF NOISE. But at one point, Pete Burns walked into Olympia Studios and shouted “ZEUS! YOU B*STARD, I HEARD MY VOICE ON THE ART OF NOISE, I KNOW IT’S ME!”… I replied “it’s impossible”, but thought to myself “oh sh*t, it could well be!” *laughs*
You had a bit of a remix period, one was ‘Big In Japan’ by ALPHAVILLE…
ALPHAVILLE used an edit of my 12 inch remix for the normal 7 inch… I mixed it at a studio in Queensway with the engineer Femi Jiya, who later worked with PRINCE. This music wasn’t exactly funky and so we worked with repeat echoes and dropped in a fretless bass sound from a Roland D50. Next door was ASWAD, the reggae band – you could smell it… so I asked them to come in and played the mix to them, they gave it the thumbs down! *laughs*
On your remix of ‘Ghostdancing’ for SIMPLE MINDS, you gave space to the rhythm section…
SIMPLE MINDS then had a drummer I did some studio work with before, Mel Gaynor… he also played on an unreleased track I produced with Ian Burden from THE HUMAN LEAGUE, called ‘She’s Always On The Dancefloor’. I studied the parts and played around with the drums because I really enjoyed what Mel Gaynor did. He was a timing and groove master who beat every drum machine.
How did you feel when you were asked to do the ‘E Reg remix’ of Gary Numan’s ‘Cars’ in 1987?
I was a big Gary Numan fan, I saw him in 1980 in Düsseldorf at the Philipshalle… guess who was the support act? SIMPLE MINDS and they played on about four square feet of stage because Gary Numan had such a huge stage set up!
Beggars Banquet asked me to remix ‘Cars’ and I was already booked and had to squeeze it in. So I worked 20 hours non-stop on it. This was when the Roland D50 came out and if you listen to my remix, it’s full of those sounds! I enjoyed doing it because it’s a great song, I love his voice, the dynamics of the sounds work brilliantly with Gary’s melodies. I saw my job to get more excitement and shape into the track as well as doing an extended version. Armand Van Helden actually sampled parts of my remix for ‘Koochy’!
Four weeks later it was out, doing really well and I was invited to a Gary Numan concert, I sat next to his dad… I looked on stage and there were five D50s! *laughs*
Your work with TRANSVISION VAMP was fascinating in that you used technology to make an album sound punk…
I worked closely with their label and they wanted a record, like you could have a cup of tea to… well, they didn’t actually say that but it was how I translated it, “pop punk”. The first album ‘Pop Art’ took nearly two years and the band grew during its making; they had started to work on demos with Duncan Bridgeman who also did most of the pre-production; after a few tracks into the actual recording sessions, I was asked to revisit the production and arrangements.
I got a chance to enrich the sounds and take care of the mixing. A few tracks I did from scratch and started with an electronic song frame. Especially ‘Tell That Girl To Shut Up’, I’ll never forget when I was doing the arrangement, Wendy James walked in and screamed at me “THAT SOUNDS LIKE F*CKING HOWARD JONES, I HATE IT!” and she stormed out of the studio. I yelled “wait, we’re going to stick the guitars on and it will work!” which is exactly what happened. So yes, in the end most of the album sounded a good mixture between electronic versus rough and punk.
Of course, this was in the days before Melodyne and Autotune… when Wendy sang the soul out of her guts and it wasn’t quite right, we would have to record up to thirty tracks of vocals and do compilations of the takes – and in the end it sounded like one convincingly performed take, which would have to grab the listener. She sold that band!
Before that, there was the aborted Clare Grogan album that you did, what happened there?
With Clare, we were forced for too much in a little amount of time. I couldn’t really open her up musically, it was like being whacked in with the record company watching… before I could sit back and analyse, it was all finished. It was done in a rush, that was a pity. With her voice, we should have done something a bit more whacky, something more off the wall.
I had the same experience when I was paired with Annabella Lwin from BOW WOW WOW. It could have been brilliant but it was squeezed into three weeks trying to record ok songs. I couldn’t find her best musical language, you need time when you develop something new. With TRANSVISION VAMP, we had eighteen months and it grew. It all started when Nick met Wendy and said “do you want to be a rock star?”, she said “yes” and they worked on it.
This record company pressure would drive any normal person crazy?
Yes, there’s a danger, you’d better have strong nerves and a good sense of humour… and you have to avoid ending up doing paid crap!
Is that why there has been such a big gap in your production work after Nina Hagen in 1991 ?
It coincided with a breakdown of my private life. Whether it was too much time spent in the studio or a typical mid-life crisis, whatever! It happened! So I had a desire to be free, travel the world – I ended up in Australia, doing music there with Aborigines and playing concerts in the middle of nature. That’s when I recorded my “audio postcard of down under” called ‘Digital Dreaming’. All in all I took ten years off and then I didn’t come back easily. I did film and ad music and that didn’t really satisfy me.
So I had a rethink, did workshops and coaching, gave lectures – call it “knowledge transfer” – but again, this was not what I wanted to do. I realised I feel most comfortable doing music in the studio or on stage. And by now, as much as I’m an optimist, I have given up on the idea of immortality *laughs*
I would love to do more DREAM CONTROL concerts, events and festivals. I still want to play and entertain people – their ears, their eyes and their imagination. In the studio I would like to do more songwriting and remixes; in an ideal world I’d always work with new inspiring equipment and learn how to master it.
I always enjoy listening to music but I am a difficult consumer. For pleasure I’m often listening to more jazz based music, but occasionally, a mega exciting track by the likes of Justin Timberlake or Justin Bieber will knock me out and I applaud. Apart from a song’s composition, I always want to know how it is done the way it sounds – from the musical & frequency arrangement to the immaculate mastering.
Music doesn’t stop… music keeps me alive
ELECTRICITYCLUB.CO.UK give its grateful thanks to Zeus B Held
Zeus B Held may be not as well-known as Giorgio Moroder, Conny Plank, Martin Rushent, Mike Howlett and Colin Thurston, but the German producer has been a key presence in the development of electronic pop music.
Making his name as a keyboard player in the German rock band BIRTH CONTROL, the experience allowed Zeus B Held to progress as a session musician and producer. The NME later described Held as being able to combine “electronic Teutonic sounds with a soulful sensibility for melodic expression”. Often considered an artier counterpart to Giorgio Moroder, Held too embarked on a solo career before settling into using the studio as his main creative outlet.
His production breakthrough came from working with GINA X PERFORMANCE in 1979 when the single ‘No GDM’ became a club favourite within the New Romantic movement. This led to a move to London to further his career. At the height of the synth assisted pop boom in Europe, Held was producing the likes of FASHION, DEAD OR ALIVE, DIE KRUPPS and John Foxxwhile also remixing ALPHAVILLE, SIMPLE MINDS and Gary Numan.
In 1995, Held wrote and recorded the music for a worldwide advertising campaign for Swatch while in more recent times, he has tended to work in more jazz inclined fields involving big band orchestras and a World Music collective who released an album entitled ‘Digital Dreaming’.
But then in 2014, he teamed up with former TANGERINE DREAM member Steve Schroyder in a new electronic project appropriately named DREAM CONTROL.
Without doubt deserving greater recognition for his adventures in modern recording, here is a look back at 18 of his works in chronological order, with a restriction of one track per artist moniker…
ZEUS Fool On The Hill (1978)
Having spent six years as a keyboard player BIRTH CONTROL, Zeus B Held ventured solo and delivered this spacey vocodered cover of THE BEATLES favourite for his debut solo album ‘Zeus’ Amusement’ on Brain Records, home to kosmische acts like CLUSTER, NEU! and KLAUS SCHULZE. Released as a single, ‘Fool On The Hill’ showcased his interest in new technologies while maintaining a traditional and widely recognisable musical aesthetic.
Available on the album ‘Voice Versa’ via LTM Recordings
Teaming up with the androgynous art history student Gina Kikoine, ‘No GDM’ was written in honour of the “great dark man” Quentin Crisp and featured an array of ARP and Moog synths to signal the birth of a new European Underground. Unsurprisingly, the song became a regular staple of Rusty Egan’s DJ sets at The Blitz Club. The nonchalant, detached vocal influence of GINA X PERFORMANCE went on to be heard in the music of LADYTRON, CLIENT and MISS KITTIN.
Available on the album ‘Nice Mover’ via LTM Recordings
When Lord Foxx of Chorley briefly went pop, he teamed up with Zeus B Held for one of the most accessible albums of his career in ‘The Golden Section’. With its emphasis on a band feel and Foxx playing more electric guitar, some critics accused him of starting to sound like ULTRAVOX again. ‘My Wild Love’ was the powerful, in-yer-face opening to the long player. Foxx himself later remarked the album was a mistake as he tried to “fit too many favourite things together”.
At the height of his fame, Pete Burns came over looking like a later period Gina Kikoine, so it was not entirely surprising that when DEAD OR ALIVE decided to pursue a more electronic dance direction, Zeus B Held would come on board as a willing conspirator. This cover version of KC & THE SUNSHINE BAND’s classic disco tune was the breakthrough, combining precise programming and a brass section with live bass and percussion, plus the vocal colossus that was Burns.
A beautiful long instrumental reminiscent of VANGELIS, there were some Spanish and progressive guitar inflections thrown into Held’s electronic mix. FASHION were at one time in their home city of Birmingham considered more likely to break than DURAN DURAN. But despite early promise with moody funk laden songs such as ‘Love Shadow’, the departure of ‘Frabrique’ era frontman Dee Harris and line-up changes ensured momentum would be lost trying to regain the dynamic chemistry of the group.
Available on the album ‘Twilight Of Idols’ via Cherry Red
A HI-NRG disco take on the provocative tune penned by Serge Gainsbourg and made famous by Brigitte Bardot, Gina Kikoine returned in 1984 with a less ambiguous image for her solo album debut ‘Yinglish’, although Held was still holding the production reins. While Held and Kikoine wrote most of the album together, it was also noted for featuring another cover in THE BEATLES ‘Drive My Car’.
Available on the album ‘Yinglish’ via LTM Recordings
Named after a 1952 sci-fi novel by Raymond Jones, THIS ISLAND EARTH were led by songwriter John Hawkins and secured a deal with Magnet Records. They were teamed with Zeus B Held to record two singles, the first of which ‘See That Glow’ was catchy enough to secure BBC radio airplay. Alas the single stalled in the UK chart at No47 in late 1984 and after another Held produced song ‘Take Me To The Fire’ failed to chart, that was it from the band…
Originally released by Magnet Records, currently unavailable
Zeus B Held was becoming a master of the extended remix and his treatment of ALPHAVILLE’s breakthrough tune put the mighty Linn Drum programming centre stage while working round the song’s catchy verse and chorus. Reversed tape elements, random blips and what was to become Held’s trademark breakdown were added to the seven minute extension, along with a fretless bass not heard on the original, no doubt in a cheeky reference to the band JAPAN. Although uncredited, he did the single mix as well.
Despite the dramatic intro, ‘Risk’ was a comparatively pop-oriented offering from the Düsseldorf industrialists with brassy synth tones and orchestral samples coming over like DAF fronting DEAD OR ALIVE. In a bizarre twist, it even featured Mel Gaynor from SIMPLE MINDS on drums! The parent album ‘Entering The Arena’, also produced by Held, offered much of the same with ‘Gladiators’ another of the album’s highlights.
Available on the album ‘Entering The Arena’ via Energy Rekords
SIMPLE MINDS Ghostdancing – Special Extended 12″ Remix (1986)
As was usual with Zeus B Held’s remixes, he often cleaned up the sound and made the percussive elements sharper. On the extended version of ‘Ghostdancing’, the thumping song’s roots in the more Eurocentric ‘I Travel’ were highlighted as sequencers and reverb were added, along with a building middle eight breakdown. This release was in support of Amnesty International and also happened to be the first ever CD single ever issued on Virgin Records.
In his WAH! days, Wylie proved he could spring an anthemic chorus as on songs like ‘The Story Of The Blues’ and ‘Come Back’. His debut solo single ‘Sinful!’ was an epic widescreen cacophony of grand throbbing electronics, massed synthetic chorals and Wylie’s own urgent vocal delivery. While it was produced by Ian Ritchie, Zeus B Held gave the track a vital remix and ended up producing three further songs on the eventual ‘Sinful!’ album.
Available on the album ‘Sinful!’ via Siren Records
The synth propelled new wave of ‘Love Bomb’ was the former ALTERED IMAGES singer’s debut single. Unfortunately, as the title suggested, it indeed did bomb and the album ‘Trash Mad’ recorded with Held was never released. While Miss Grogan did not have the feisty aggression to pull off a tune that was aimed squarely at the American market, Zeus B Held’s production on ‘Love Bomb’ now sounds like a blueprint for TRANSVISION VAMP.
Originally released by London Records, currently unavailable
A commentary from the Doroschuk brothers on the ups and downs of fame, while more organic than ‘The Safety Dance’, ‘Pop Goes the World’ produced by Zeus B Held featured a fair smattering of synths and reached No1 in Austria. The parent album of the same name went platinum in the band’s homeland of Canada. The song itself achieved an enhancement to its longevity when it later appeared in a TV advert for Tide laundry detergent pods in 2012.
Available on the MEN WITHOUT HATS album ‘Pop Goes The World’ via Mercury Records
Coinciding with the new E registration car number plates of that year, Zeus B Held added some digital clangs, pitched swirls and guitars to Numan’s signature synth classic which undoubtedly boosted its longevity. Meanwhile the extended version maximised Ced Sharpley’s drums by isolating them at the start of an impressively arranged mid-song breakdown. Amazingly, the radio edit of Held’s remix has actually been a UK Top 20 hit single twice in its own right, although it was retitled ‘The Premier Mix’ in 1996.
Radio edit available on the GARY NUMAN album ‘Premier Hits’ via Beggars Banquet
Kirk Brandon was never the happiest fellow in the world and ‘Never Take Me Alive’ produced by Held was possibly SPEAR OF DESTINY’s angry zenith. A mix of acoustic guitar, fretless bass, programmed percussion, synthetic goth choir and modern production values gave SPEAR OF DESTINY their biggest hit in a period when THE CURE, SIOUXSIE & THE BANSHEES, THE SISTERS OF MERCY, THE CULT and THE MISSION ensured that sombre spectre of goth shone brightly in the UK singles chart for a time.
Available on the SPEAR OF DESTINY album ‘Outland’ via 10 Records
Just as Mutt Lange had been very clever in using state-of-the-art technology to make DEF LEPPARD’s ‘Hysteria’ sound heavy metal, Zeus B Held achieved the same in making his heavily synthesized productions for TRANSVISION VAMP sound punk. A catchy tune arranged by Duncan Bridgeman who had worked with JoHn Foxx on ‘The Garden’ and been a member of jazz funkers I-LEVEL, ‘I Want Your Love’ thrust singer Wendy James into the limelight for her 15 minutes of fame.
Available on the album ‘Pop Art’ via Universal Music
The East Berlin born singer and actress started her musical life in the band AUTOMOBIL, but released her first album with the NINA HAGEN BAND in 1978. Maintaining her cult popularity as a punk icon, ‘Hold Me’ was from her solo 1989 album debut proper, produced by Held. An outlandish cover of a traditional gospel song, the arrangement will no doubt have upset purists with its synthetic backing, rock guitars and Hagen’s own theatrical vocal histrionics.
Available on the NINA HAGEN album ‘Nina Hagen’ via Mercury Records
ZEUS B HELD Kant Can Dance – Dream Control Mix (2015)
‘Logic Of Coincidence’ was Held’s most recent solo record and largely a cinematic, almost ambient imaginary film soundtrack. While the album was perhaps not wholly representative of Held’s past pop exploits, his artier Moroder template notably appeared on ‘Kant Can’t Dance’. While seeming a bit out of place on the album, its electronic disco friendly template delighted fans of his remix work during his production heyday, especially in its bonus DREAM CONTROL incarnation.
Sub Culture Records is a Norwegian label founded by Per Aksel Lundgreen, whose motto goes “what you call culture, we call crap”…
Their artists have included MARTYN BAILEY, TRAIN TO SPAIN, former YELLO member CARLOS PERÓN, iEUROPEAN, DELAYSCAPE, SLEEP MUSEUM, MACHINISTA and TECHNOMANCER, to name but a few.
The label is no stranger to compilations, having just unveiled their latest, ‘The Best TECHNOMANCER & ANGST POP Remixes’ featuring a plethora of artists reworked in a Per Aksel Lundgreen approved manner.
The man himself has a long history within electronica genre, having co-founded YAZOO inspired covers act CHINESE DETECTIVES and played with APOPTYGMA BERZERK, while promoting many synth related acts and running his own project CRONOS TITAN.
ANGST POP is his own moniker too, and many remixes on the compilation have been mastered by Lundgreen as well. Indeed, a multitude of known and adored synth acts have been featured here. ROBERT MARLOW’s ‘Smile’ opens the collection, followed by excellent take on DIE KRUPPS’ ‘Robo Sapien’, with metallic, EBM loaded beats perfect for feet stomping and head bobbing. NITZER EBB had to be present here as well, with a superb version of ‘Once You Say’.
Lundgreen’s brother from a different mother, Stephan Groth aka APOPTYGMA BERZERK, finds his place here with ‘Major Tom’; a cover of PETER SCHILLING’s nod towards Bowie, it’s here wrapped up in a melodic candy.
‘Darkest Hour’ by ANNE CLARK is a true highlight, strong, arty and full of attitude.
SHATOO, an act in which Per is also involved are featured here a few times with ‘Dangertown’, ‘Floodlights’, ‘Nothing That I Wouldn’t Do’ and ‘One Night Love’, the latter undoubtedly fit for Eurovision.
Meanwhile, ‘Som Ett Skal’ from PAGE is very ethereal and ear pleasing, while TOUCHING THE VOID dazzle with ‘Obsession’. TECHNOMANCER’s own ‘Electronic Warfare’ clashes with ANGST POP’s ‘Ødipus Rex 2012’ and SPEKTRALISED continue to ‘Learn & Teach’. CARLOS PERÓN closes this remix album with a bang on his ‘Der Komtur’.
While Lundgreen muses about releasing a single with TECHNOMANCER, he has been heavily concentrating on the production and remix work for other artists. He’d love to take CRONUS TITAN to Germany and his dream is to write a movie soundtrack under the same moniker. Until then, we have this extensive remix album to fall back on.
German music has been compiled before, but it has often been a hit and miss affair. Soul Jazz Records’ lushly packaged ‘Deutsche Elektronische Musik’ sets over two volumes contained a wide range of freeform experimental works from Der Bundesrepublik, but occasionally forgot about the Trade Descriptions Act implications of its title.
Released to coincide with ‘ELECTRI_CITY – The Düsseldorf School of Electronic Music’, the English translation of the acclaimed book by Rudi Esch about the city’s music heritage, ‘ELECTRI_CITY 2’ gathers together the more accessible elements of Deutsche Elektronische Musik, Kosmische and Neue Deutsche Welle.
Think of it as a direct journey of discovery, but with the benefit of a local tour guide as well. Issued by Grönland Records who handled the NEU! and HARMONIA remasters, the 2CD deluxe edition ‘ELECTRI_CITY 1_2’ adds the first volume that came out in 2015 alongside the original German language book.
NEU! and DAF will probably be the best known acts of those included; produced by the legendary Conny Plank, both are more than well represented on ‘ELECTRI_CITY 1_2’. But with the proto-synthpop of ‘Isi’ and the proto-punk of ‘Hero’ from the former, alongside the electro-body controversies of ‘Der Mussolini’ and ‘Kebabträume’ from the latter, there are also many other acts who are worthy graduates of the school.
One of the most welcome inclusions is that of the under rated Neue Deutsche Welle trio RHEINGOLD. Both ‘3Klangsdimensionen’ and ‘Fluß’ are almost up there with great international crossover hits like PETER SCHILLING’s ‘Major Tom’.
But often, the German language was a barrier to wider recognition and apart from DAF, most of the material gathered here does not really break the lyric bank.
Those of Klaus Dinger from NEU! in particular are amusingly close to ranting gibberish, especially on the two brilliant offerings from his more synth driven combo LA DÜSSELDORF.
Missing though are KRAFTWERK; but with Ralf Hütter’s well-known defensiveness of the Kling Klang legacy, representation instead comes from former percussionist Wolfgang Flür and his autobiographical party piece ‘I Was A Robot’. There is also a special hidden cover of ‘Ruckzuck’ from THE TECHNOCRATS, a side project of Ralf Dörper, best known as a member of PROPAGANDA and DIE KRUPPS. Anyone getting as far as even listening to this set of compilations will probably have at least one KRAFTWERK album in their collection, so their absence is not really noticed.
As Andy McCluskey put it: “Whilst KRAFTWERK cement their position in the pantheon of the museums and the books, LA DÜSSELDORF and NEU! were very important. They also did something that was beautiful and different”. Of course, British acts like OMD championed the cause of Elektronische Musik aus Düsseldorf, eventually distilling the form into synthpop and even selling it back to Das Vaterland; in acknowledgement of that, a mysterious collective called MAKROSOFT cover ‘Electricity’ in a deadpan apocalyptic fashion.
Further evidence of cultural exchange comes with the 1976 HARMONIA & ENO collaboration ‘Luneberg Heath’, the effects of which were to later have a profound effect on DAVID BOWIE’s Berlin Trilogy of ‘Low’, ‘Heroes’ and ‘Lodger’. But the biggest surprise to many will be ‘Darling Don’t Leave Me’, a lost duet between DAF drummer Robert Görl and EURYTHMICS’ Annie Lennox which is a gloriously wiggly synthpop pleasure.
Diversity was one of the beauties of The Düsseldorf School Of Electronic Music and harder, edgier sounds emerged alongside more esoteric instrumental pieces. ‘Wahre Arbeit Wahrer Lohn’ and ‘Zwei Herzen, Ein Rhythmus’ from DIE KRUPPS show how much of a debt is owed to them by the Industrial music scene.
Meanwhile LIAISONS DANGEREUSES led by Beate Bartel (MANIA D, EINSTÜRZENDE NEUBAUTEN, MALARIA!) and Chrislo Haas (DAF, DER PLAN) took Teutonic precision into the underground dance clubs with hypnotic numbers like ‘Etre Assis Ou Danser’ and ‘Los Ninos Del Parque’. However, those in the hunt for something even angrier will probably appreciate the more challenging platitudes of BELFEGORE.
With ‘Flammende Herzen’, NEU! guitarist Michael Rother opened his solo account to become Germany’s answer to Mike Oldfield while on ‘Karussell’, he also proved he could sound like a one-man ULTRAVOX. A former band mate of Rother’s, RIECHMANN is undoubtedly the great lost talent of the era; the lunar synth passages of ‘Abendlicht’ and the delicate melodic schaffel of ‘Wunderbar’ showcased his potential towards the musical magnificence that was never able to be fulfilled due to his tragic passing.
Of course, a vibrant art scene centred around Düsseldorf and provided a sympathetic environment for many to flourish. DER PLAN, TEJA and DIE LEMMINGE are good examples of that more experimental approach. PYROLATOR’s ‘Max’ in particular comes over like a Rhein-Ruhr version of THE NORMAL while ‘Mustafa’ by TOPOLINOS, a pre-PROPAGANDA girl group featuring Claudia Brücken and Susanne Freytag, is a jaunty, enjoyable piece of Middle Eastern flavoured avant pop that was not really a true indicator of what was to come.
All-in-all, ‘ELECTRI_CITY 1_2’ is as Rudi Esch puts it “an intelligent and sophisticated roller coaster ride through one of the most integral chapters of recent German music history”. A fine collection of cathartic expressionism, the 29 tracks on offer provide a fine entry point into a fascinating post-war attitude that resulted in a highly influential musical aesthetic.
CD1
01 LA DÜSSELDORF Düsseldorf
02 RIECHMANN Wunderbar
03 HARMONIA & ENO Luneburg Heath
04 DER PLAN Wir Werden Immer Mehr
05 DAF Der Mussolini
06 NEU! Hero
07 TEJA Säuren Ätzen
08 DIE KRUPPS Wahre Arbeit Wahrer Lohn
09 LIAISONS DANGEREUSES Los Ninos Del Parque
10 WOLFGANG FLÜR I Was A Robot
11 RHEINGOLD 3Klangsdimensionen 2010
12 MICHAEL ROTHER Flammende Herzen
13 MAKROSOFT Electricity
CD2
01 RIECHMANN Abendlicht
02 NEU! Isi
03 RHEINGOLD Fluss
04 ROBERT GÖRL featuring ANNIE LENNOX Darling Don’t Leave Me
05 DIE KRUPPS Zwei Herzen, Ein Rhythmus
06 TEJA SCHMITZ Studieren
07 DAF Kebabträume
08 PYROLATOR Max
09 LA DÜSSELDORF La Düsseldorf
10 BELFEGORE Mensch Oder Gott
11 DER PLAN Gummitwist
12 LIAISONS DANGEREUSES Etre Assis Ou Danser
13 TOPOLINOS Mustafa
14 DIE LEMMINGE Himmel
15 MICHAEL ROTHER Karussell
16 THE TECHNOCRATS Ruckzuck (Hidden Track)
‘ELECTRI_CITY 1_2’ is released by Grönland Records as a deluxe 2CD edition. Each compendium is also available separately as a CD, double vinyl LP and download
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OMD’s Andy McCluskey said: “Musically we are much more the sons of Düsseldorf than we are the sons of Liverpool. KRAFTWERK, NEU! and LA DÜSSELDORF were so much more influential on us than THE BEATLES”.
Rudi Esch came to prominence as the bassist of industrial trailblazers DIE KRUPPS whom he joined in 1988, but prior to that, he was in DIE ENGEL DES HERRN with the mercurial Klaus Dinger of NEU! and LA DÜSSELDORF fame. The book takes an unusual format in that it features a series of parabites.
As expensive as synthesizers were back then, the more avant-garde types tended to prefer EMS equipment as it did not come with a keyboard, while those who liked melody opted for the Minimoog. KRAFTWERK of course bought both! But as former member Ebehard Kranemann remembers “KRAFTWERK was not about the money, it was about the music”.
During the post-punk period, just as Liverpool had Eric’s, Manchester had The Factory and London had The Blitz, Düsseldorf had a creative centre emerge around Die Ratinger Hof.
album on the spectrum analyser and said “Look here at the frequencies, this can’t work! Nobody wants to listen to that!” *laughs*
was finished, some chemical reaction in certain brains caused the ‘Fabrique’ line-up to collapse and the album had to be buried by Arista. Their German and American labels hugely believed in the group and things could have been different, but FASHION didn’t really enter the league they should have been in.
. John is a multi-talented, very intelligent artist and we met at an interesting moment in our lives, but we didn’t make the kind of mutual masterpiece which we could have done.
with Wayne Hussey on guitar, thus getting a slightly gothic element which I quite liked.
took nearly two years and the band grew during its making; they had started to work on demos with Duncan Bridgeman who also did most of the pre-production; after a few tracks into the actual recording sessions, I was asked to revisit the production and arrangements.
via LTM Recordings
via LTM Recordings
via Edsel Records
via Cherry Pop
via LTM Recordings
via WEA
via Universal Music
via Siren Records
via Mercury Records
via Beggars Banquet
via 10 Records
via Universal Music
via Mercury Records
via Les Disques du Crépuscule
Sub Culture Records is a Norwegian label founded by Per Aksel Lundgreen, whose motto goes “what you call culture, we call crap”…
, the English translation of the acclaimed book by 
adds the first volume that came out in 2015 alongside the original German language book.
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