We Are Going To Eat You – Four Heads Feast [Cass] (1987, 69 Tapes)

'Four Heads Feast' is one of those releases that feels like you’ve stumbled onto a moment in progress rather than a finished statement. It came out in 1987 on 69 Tapes, right when bits of the anarcho-punk scene were starting to drift into stranger, less defined territory. 

We Are Going To Eat You basically formed out of the fallout from Hagar the Womb. A few members carried over, along with a bunch of half-formed songs that hadn’t quite found their final shape yet. That’s pretty much what you hear on this cassette -older material being reworked, reshuffled, and recorded during that in-between phase around 1986. Some of these tracks never showed up anywhere else, so this tape ended up being their only home. 

It’s rough in a good way. Not messy for the sake of it, just very immediate and unfiltered. You can tell it wasn’t about making something polished or career-defining -it’s more like they hit record and captured where they were at the time. That’s part of what makes it interesting now.

 
69 Tapes, the label behind it, fits perfectly into that picture. It was a tiny DIY operation run out of the same circles as All The Madmen Records, with all the usual ingredients -small runs, hand-to-hand distribution, and a network built on gigs, zines, and word of mouth. Even the label name has that slightly cheeky, inside-joke vibe that a lot of those projects had. 

The wider setting matters a lot here too. Mid-to-late ’80s UK underground culture was deep into cassette territory. Bands weren’t waiting around for proper vinyl releases -they were dubbing tapes, trading them, selling them at shows. At the same time, scenes were starting to overlap in weird ways. Punk crowds mixed with travellers, early rave culture was creeping in, and gigs could feel pretty unpredictable. We Are Going To Eat You were right in that mix, playing shows where the energy could swing from chaotic live sets to something closer to a party. 

Not long after this, they started moving in a more structured direction, putting out records on bigger indie labels and heading toward a full album by 1990. That shift makes 'Four Heads Feast' feel even more like a snapshot of a previous phase -before things tightened up, when everything still felt loose, experimental, and a bit undefined.

 
It’s the kind of release that makes more sense the deeper you dig into that era. Not essential in the “classic album” way, but really telling if you want to understand how those scenes actually worked from the inside. 

 

Label: 69 Tapes – No. 8 

Format: Cassette, Album 

Country: UK 

Released: 1987 

Style: Post-Punk, Goth Rock 

 

Tracklist: 

Side 1 

1 Passion For Action 

2 I Want Fire 

3 No True Vision 

4 No Time To Stop 

5 Life Of Lies 

Side 2 

1 No Limits 

2 Mind Games 

3 You Never Learn 

4 We Are Going to Eat You ! 

 

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Vehikel & Gefäss (& Ventilator) – Make ‘Em Pay (!): Homemade Napalm = Gasolin Or Fuel Oil + Nondetergent Soap (Bar, Flakes Or Powder) / Make Gasolin, Oil Or A (1:1) Mixture Bubble And Add The Soap (1:1) [7''] (1990, Schimpfluch)

 

That release with the absurdly long title -'Make ‘Em Pay (!): Homemade Napalm = Gasolin Or Fuel Oil + Nondetergent Soap…'- is peak late-80s/early-90s Swiss noise culture: confrontational, cryptic, and deliberately uncomfortable in both concept and presentation. It came out in 1990 as a tiny 7-inch on the Schimpfluch label, pressed in a run of around 300 copies, which already tells you the deal: this wasn’t meant to circulate widely, it was more like an artifact passed between people already deep in that underground network. The recordings themselves were captured live in Zürich in March 1990, not in a studio, which lines up with the whole ethos -documenting actions rather than polishing “tracks.” 

The project behind it, Vehikel & Gefäss (& Ventilator), was basically a collision of three key figures from that scene: Rudolf Eb.er, Joke Lanz, and Marc Zeier. These weren’t just musicians in the usual sense. Eb.er, especially, was operating in a zone that mixed ritual, performance art, and sound as a kind of psychological intervention -less “songs,” more like controlled breakdowns or confrontations staged through audio. Lanz, through his Sudden Infant work, brought in that hyper-physical, almost violent approach to sound collage and turntable abuse, while Zeier added another layer from the same experimental network. 

That title isn’t a joke or edgy decoration either -it reflects a broader tendency in the scene to pull in imagery of destruction, bodily processes, and taboo subjects. The whole Schimpfluch orbit thrived on pushing listeners into uneasy territory, blurring lines between sound art, endurance performance, and what you might call anti-entertainment. The collective itself started in Zürich in 1987 as more than just a label: it was an umbrella for actions, radio broadcasts, collaborations, and a kind of shared philosophy built around extremity and critique of “safe” culture. 

Within that context, this single feels less like a standalone release and more like a snapshot of a moment -one of those live “actions” frozen onto vinyl. The A/B sides are just dated fragments (like “90-03-23”), which reinforces that idea: you’re hearing documentation, not compositions in the traditional sense.

 
Zooming out, this sits right in that early wave of European noise and musique concrète hybrids that rejected both rock structure and academic electronic music polish. It shares DNA with stuff like early tape-collage scenes, industrial extremes, and performance art happenings where the boundary between artist and audience could get pretty thin. Schimpfluch releases in general -often in tiny editions with bizarre packaging- feel more like conceptual objects than records, and this one fits that pattern perfectly. So yeah, not an easy listen, not even trying to be one. More like a document from a scene that wanted to test how far sound -and the people listening to it- could be pushed. 

 

Label: Schimpfluch – SH 16, Schimpfluch – sh 16 

Format: Vinyl, 7", 45 RPM, Limited Edition 

Country: Switzerland 

Released: 1990 

Style: Noise, Experimental, Industrial 

 

Tracklist: 

A Live-Akcion 90-03-23 5:13 

B Live-Akcion 90-03-21 4:22 

 

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The Untold Fables – Every Mother's Nightmare [LP] (1985, Dionysus Records)

The Untold Fables sit right in that mid-80s pocket where punk energy collided with a renewed obsession for ‘60s garage sounds. Their album 'Every Mother’s Nightmare', released in 1985 through Dionysus Records, captures that moment perfectly -fuzzed-out guitars, Farfisa-style keys, and a raw, slightly chaotic vibe that feels both retro and urgent. 

 
Coming out of the Los Angeles underground, with figures like Paul Carey and Robert Butler involved, they were plugged into the club circuit that helped define the garage rock revival. This was a scene built on rediscovery -bands pulling from 'Nuggets'-era influences and mixing them with punk’s stripped-down aggression. The result was a sound that felt familiar but louder, faster, and a bit more reckless.

 
The record itself is packed with short, punchy songs driven by simple riffs and relentless rhythm. Tracks blur into each other in a way that almost feels intentional, like the repetition is part of the charm rather than a flaw. The production doesn’t clean things up too much either -it keeps that live, slightly unhinged feel where everything sounds like it could fall apart but never quite does. “An ear splitting release. Some of the songs sound the same but that can be expected because of the genre. A wonderfully noisy album with alot of energy.” That description hits the mark. It’s loud, rough around the edges, and more focused on attitude than variety, which is exactly what makes it work. 

 
Around that time, Dionysus Records, led by Lee Joseph, was becoming a central hub for this kind of sound, documenting bands that were keeping garage rock alive in a new decade. Releases like this one turned into cult favorites, passed around by collectors and fans who were deep into the revival scene.

 
'Every Mother’s Nightmare' doesn’t try to polish or modernize the formula. It leans fully into distortion, repetition, and energy, which is why it still resonates with anyone who’s into that raw, back-to-basics approach to rock. 

 

 

Label: Dionysus Records – ID 8603 

Format: Vinyl, LP, Album 

Country: US 

Released: 1985 

Style: Garage Rock, Punk 

 

Tracklist: 

A1 Girl Of My Own 2:06 

A2 Let Me Know 2:40 

A3 Other Fish 3:33 

A4 I'm Rowed Out 2:36 

A5 Revenge 1:59 

A6 You're Hated 2:00 

A7 Don't Need You No More 3:21 

B1 It's A Cryin' Shame 2:12 

B2 Gone My Way (Now You Go Yours) 2:40 

B3 Get The Picture? 2:07 

B4 I Want My Woman 2:25 

B5 I'll Be Gone 2:09 

B6 Rockhead 3:39 

 

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Masters T De K – Las Nuevas Aventuras (De Los Masters T De K) [LP] (1989, La General)

'Las Nuevas Aventuras (De Los Masters T De K)' by Masters T De K is one of those underground Spanish rap records that feels like a straight-up time capsule from the late ’80s. It came out in 1989 via La General, right when hip hop in Spain was still in its infancy and everything felt new, experimental, and a bit improvised. 

The sound of the album is very much rooted in early hip hop aesthetics: drum machines, basic loops, scratches, and a DIY approach that gives it a rough but authentic edge. It doesn’t try to sound polished or commercial -instead, it captures that moment when people were just discovering rap and figuring out how to adapt it to their own language and culture. You can hear the influence of old-school American hip hop, but there’s already a local flavor creeping in. 

As for the group itself, TDeK have a backstory that’s a bit different from what you might expect if you only know this album. TDeK -short for Terrorism, Destruction and Chaos- is one of the most iconic hardcore punk bands to come out of Madrid in the 1980s. They didn’t start strictly as a rap act, and their evolution is actually what makes them interesting. After some lineup changes -including the departure of their original singer- the band continued as a trio and began experimenting. This shift became clear in 'A Toda Prisa' (1987), which moved slightly away from pure hardcore and played with new rhythms. The evolution continued with 'Como Una Pesadilla' (1988) and reached a surprising point in 1989 with 'Las Nuevas Aventuras (De Los Masters T De K)', a record often considered one of the first rap or hip-hop albums released in Spain. The band even modified its name to Masters T De K to reflect this direction before splitting up around 1990.

 
Lyrically, the album leans more into creativity and experimentation than into heavy social commentary. There’s a playful tone running through it, with bits of storytelling, humor, and that unmistakable feeling of artists testing boundaries. It doesn’t hit as hard or as politically charged as later Spanish rap, but that’s part of its charm -it’s about discovery rather than definition. 

Looking back, the record stands out more for its historical importance than for technical perfection. It’s one of those projects that helped lay the groundwork for what Spanish hip hop would become in the ’90s and beyond. Listening to it now feels like digging into the roots of a scene that hadn’t quite figured itself out yet -but was already on its way. 

 

Label: La General – 88.2030 

Format: Vinyl, LP, Album 

Country: Spain 

Released: 1989 

Style: Hardcore Hip-Hop. Hip Hop

 

Tracklist: 

A1 Jugar A Disfrutar 4:59 

A2 Velocidad 3:40 

A3 Hablando 3:27 

A4 Metéme Mano 3:46 

A5 Jugar A Disfrutar (Club Mix) 4:15 

B1 En Mi Moto Voy 5:00 

B2 Felipe 4:19 

B3 Noche Y Día 4:51 

B4 Ruf Mich Ann (Llámame) 4:45 

 

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Some Detergents... – Moderne Problem [7''] (1982, Clean Records)

Somewhere in the tangle of early-’80s British underground music sits Some Detergents, a band that never quite broke out of the shadows but still managed to bottle a very specific moment in post-punk evolution. They’re one of those groups that feel more like a rumor than a mainstream act -circulating through word of mouth, indie record shops, and the kind of late-night radio slots where the strangest tracks tended to thrive. 

 
Their 1982 single 'Moderne Problem' came out on Clean Records, a label that specialized in giving space to artists operating far from the commercial center. The song itself sits right on that fault line between punk’s leftover urgency and the cooler, more stylized edge of new wave. It’s got that tight, twitchy rhythm section, scratchy guitars, and vocals that feel intentionally detached -like they’re observing the chaos rather than getting swept up in it. 

 
There’s a roughness to 'Moderne Problem' that feels completely deliberate. The production is stripped back, almost skeletal, letting every awkward pause and jagged transition show through. Instead of polishing things out, the band leans into that unease, creating something that feels restless and slightly off-balance in a way that’s very true to the era. 

 
What really sticks is how much this single reflects the wider DIY culture of the time. Bands like Some Detergents weren’t aiming for mass appeal -they were documenting a mood, pressing it onto vinyl in small batches, and sending it out into the world to find whoever was tuned into that frequency. That’s probably why 'Moderne Problem' still resonates today: it doesn’t just sound like the early ’80s underground -it is the early ’80s underground, preserved in miniature. 

 

 

Label: Clean Records – WIPE 1 

Format: Vinyl, 7", Single 

Country: UK 

Released: 1982 

Style: New Wave, Minimal Wave, Post-Punk 

 

Tracklist: 

A Colours 

B1 Moderne Problem 

B2 Wake Up 

 

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Repetition – The Still Reflex / Fade Out [7''] (1981, Les Disques Du Crépuscule)

 

Repetition were one of those fleeting but fascinating acts to come out of London’s early post-punk scene. Formed around 1979, they didn’t last long, but they left behind just enough material to earn a cult following. Their sound sits somewhere between cold, minimal synth textures and sharp, angular guitar work, all held together by Sarah Osborne’s detached, almost ghostly vocals. Even though they were a UK band, they often get lumped in with the European “cold wave” scene, largely because of their connection to the Brussels-based label Les Disques du Crépuscule, which had a very distinct, art-driven aesthetic. 

Their debut single, 'The Still Reflex / Fade Out', dropped in early 1981 and perfectly captures that moment when post-punk was drifting into more atmospheric and experimental territory. Recorded at Spaceward Studios and produced by Rob Gretton -best known for his work with Joy Division- the record has that stripped-down, slightly austere feel you’d expect. The A-side, “The Still Reflex,” is tense and hypnotic, built around a repetitive groove that never quite resolves, while “Fade Out” leans more into mood, letting the space between notes do as much work as the instruments themselves. 

What makes this single especially interesting is how well it fits into the early identity of Crépuscule. The label, which launched in 1980, quickly became known for putting out records that felt more like art objects than standard releases, and Repetition were right there in that first wave. You can hear the same sensibility that runs through other Crépuscule artists -minimalism, a certain emotional distance, and a focus on texture over traditional song structure. 

Repetition didn’t stick around for long -they were gone by the early ’80s- but like a lot of bands from that era, their impact isn’t measured in longevity. Instead, it’s in moments like this single, which still feels like a snapshot of a very specific mood and time: post-punk turning inward, getting colder, and quietly setting the stage for everything from darkwave to later indie minimalism.

 

 

Label: Les Disques Du Crépuscule – TWI 012, Les Disques Du Crépuscule – twi 012 

Format: Vinyl, 7", 45 RPM, Single 

Country: Belgium 

Released: Jan 1981 

Style: New Wave, Post-Punk, Coldwave 

 

Tracklist: 

A A Still Reflex 4:01 

B Fade Out 4:36 

 

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The Questions – Some Other Guy [7''] (1978, Zoom Records)

 

The Questions were a group of teenagers from Edinburgh who had only just formed in 1977. Like a lot of young acts at the time, they were riding the wave that punk had created, but they weren’t strictly punk. Their sound leaned more toward sharp, energetic pop with a strong nod to 1960s R&B and mod culture. Even the title “Some Other Guy” feels like a deliberate throwback, echoing the kind of raw rhythm-and-blues covers that British bands cut their teeth on in the early ’60s. 

 
The single was released on Zoom Records, a small but important Scottish indie label based in Edinburgh. Zoom was one of those short-lived labels that perfectly captured a moment. Founded in 1977, it quickly became a platform for emerging local talent during a time when the traditional music industry was being shaken up by DIY energy and independent releases. Labels like Zoom gave bands a way to get on vinyl quickly, without waiting for major label approval, and that immediacy is part of what makes records like this feel so alive. 

 
“Some Other Guy” was actually the debut single from The Questions, backed with “Rock ’n’ Roll Ain’t Dead”, and it’s very much a snapshot of a band finding its identity. There’s a youthful urgency to it, but also a clear sense that they were looking beyond punk’s rawness toward something more melodic and rooted in older influences. That mix would later connect them with the mod revival scene and bring them into the orbit of figures like Paul Weller. 

 
In the bigger picture, the single sits at an interesting crossroads. It’s part of that late-’70s shift where punk’s initial shock was evolving into new wave, power pop, and mod revival. It also reflects the importance of regional scenes -especially in places like Scotland- where independent labels and young bands were building their own ecosystems outside of London.

 

 

Label: Zoom Records – ZUM 6 

Format: Vinyl, 7", 45 RPM, Single 

Country: UK 

Released: Aug 1978 

Style: New Wave, Mod, Power Pop 

 

Tracklist: 

A Some Other Guy 3:15 

B Rock 'N' Roll Ain't Dead 2:45 

 

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Pitfall / Six Minute War – Live [Cass] (1980, Finger In The Dike)

There’s something especially compelling about the murky edges of early punk, where documentation is scarce and releases feel more like artifacts than products. The split cassette by Pitfall and Six Minute War, released around 1980–81 on the obscure Finger In The Dike label, sits firmly in that territory. It’s the kind of tape that feels less “released” and more circulated -passed hand to hand, dubbed, traded, and half-forgotten except by those who know exactly why it matters. 

On one side, you get Pitfall, a Dutch band capturing some of their earliest recordings. The sound is raw even by the standards of the time -stripped down, urgent, and unmistakably DIY. There’s a loose connection to the wider Dutch anarcho-punk scene, with echoes of bands like The Ex or the Rondos, but Pitfall feels even more embryonic here, like you’re hearing a band still figuring itself out in real time. That immediacy is part of the charm; nothing is polished, and nothing is meant to be. 

Flip the tape and things get even rougher. Six Minute War’s contribution is a live recording from London, likely around 1980, and it sounds exactly like you’d expect: chaotic, fast, and barely contained. The songs blur together in a way that makes track divisions feel irrelevant, just short bursts of political punk delivered with minimal ceremony. It’s less about individual tracks and more about capturing a moment -a snapshot of a band operating at full urgency in a live setting. 

The label behind it, Finger In The Dike, is almost as elusive as the tape itself. This release is generally considered one of their first, if not the very first, and it reflects the spirit of early cassette culture perfectly. Before vinyl was an option for many of these bands, tapes were the medium of choice -cheap to produce, easy to duplicate, and ideal for the growing network of fanzines and tape traders that connected underground scenes across Europe. 

What makes this cassette particularly interesting is that sense of connection. A Dutch band on one side, a London band on the other -it’s a small but telling example of how punk scenes were already communicating across borders, long before the internet made that kind of exchange effortless. You can hear the shared ethos in the noise, even if the recordings themselves are worlds apart in geography. 

 

Label: Finger In The Dike – hole 001 

Format: Cassette, C60 

Country: Netherlands 

Released: 1980 

Style: Punk 

 

Tracklist: 

A1 Pitfall – Aha 

A2 Pitfall – Pitfall 

A3 Pitfall – The Raper 

A4 Pitfall – Statements 

A5 Pitfall – Is This Me Or Is This You (Sham 69) 

A6 Pitfall – The Army 

A7 Pitfall – Makeup 

A8 Pitfall – Soldiers Fighting 

A9 Pitfall – Borin' Place 

A10 Pitfall – Commercial Rules 

A11 Pitfall – Beatenup Pogo! 

A12 Pitfall – Skinrash 

A13 Pitfall – Stuff Like Hell 

A14 Pitfall – I Wanna Get 

A15 Pitfall – Hitler's Fan 

A16 Pitfall – TV 

A17 Pitfall – Put In Prison 

A18 Pitfall – Sid Sod 

B1 Six Minute War – Bigwig 

B2 Six Minute War – Progress 

B3 Six Minute War – Stike Labelled 

B4 Six Minute War – He's Dead 

B5 Six Minute War – Guitarist 

B6 Six Minute War – Sell Out 

B7 Six Minute War – Nurses 

B8 Six Minute War – Tony Pike 

B9 Six Minute War – Strontium 90 

B10 Six Minute War – Protect & Survive 

B11 Six Minute War – Youth Culture 

B12 Six Minute War – So Sad 

B13 Six Minute War – Silver Machine 

 

Notes:  

Pitfall side recorded live Op Zolder 21/9/80 

Six Minute War side recorded live in Cassandra, Londen 

 

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The Oroonies – Exalt The Horn [Cass] (1986, Better Days Distribution)

 

'Exalt The Horn' by The Oroonies is one of those obscure mid-80s cassette releases that feels more like a rumor than a widely documented record. Put out in 1986 through the small, DIY-focused Better Days Distribution label, it exists in that hazy space where post-punk experimentation and home recording culture overlap. Better Days Distribution operated more like a conduit than a traditional label, helping circulate music within a network of like-minded artists and tape traders. Releases were often produced in very small quantities, dubbed by hand, and shared through mail or personal connections. It’s likely that 'Exalt The Horn' only ever reached a relatively small audience in its original run 

There’s very little concrete information circulating about the project, which only adds to its intrigue -but there is a bit more to grasp when it comes to The Oroonies themselves. They were a British, largely instrumental outfit operating somewhere between psychedelic space-rock and folk fusion, forming in the early 1980s and remaining active for roughly a decade. Their sound leans heavily into disorientating psychedelia, often blurring the line between structured composition and freeform exploration. They also have some interesting connections: a couple of members were involved with Ozric Tentacles, which helps place them within that broader UK underground psychedelic scene. There was even a sideline acoustic project under the name Cheapsuit Oroonies, suggesting a more stripped-down counterpart to their more cosmic excursions. After years of relative silence, the band resurfaced in 2012 with three original members -Joie Hinton, Tanya Horn, and Boris Orooni- going on to release several CDs and eventually returning to live performances around 2017. That later activity adds an unexpected second chapter to what initially felt like a fleeting cassette-era project. 

 

What is evident from 'Exalt The Horn' itself is its raw, unpolished nature. This wasn’t built in a professional studio environment- it carries the imprint of limited equipment, a lot of creative freedom, and no real concern for mainstream appeal. The sound leans into that distinctly lo-fi cassette aesthetic: minimal drum machine rhythms, warped or drifting synth textures, and occasional guitar elements that feel more atmospheric than structured. Vocals come across as distant and abstract, sometimes closer to spoken word or ritualistic phrasing than conventional singing. Tape hiss and uneven levels aren’t distractions -they’re part of the character.
 

A listener once summed it up pretty bluntly: “Usable tribal space music.” That description isn’t far off. 'Exalt The Horn' opens with what feels like a collage of didgeridoo-like drones, whale-like calls, and drifting cosmic textures -hard to pin down exactly what the sources are, but undeniably evocative. It’s immersive and unusual, though largely rooted in soundscaping rather than structured composition. Things shift slightly with “Oinkoi,” where a more defined pulse emerges through tribal-style drumming and hypnotic bell tones that hint at Eastern influences. It builds a mysterious atmosphere, though it can come across as a bit familiar in its approach. The title track stretches into a longer tribal space-rock jam -engaging at first, but its length can make it harder to stay fully absorbed, especially as it leans more on repetition than development. From there, the tape continues in a similar vein: a series of loosely structured jams exploring psychedelic, otherworldly textures. There’s a clear avoidance of traditional rock forms -no bluesy solos or relaxed grooves- leaning instead toward something closer to industrial-tinged ritual ambient. The pieces are relatively short, but taken together they can feel somewhat continuous, like variations on the same sonic idea. 

That said, the appeal lies precisely in that persistence. It’s less about individual standout moments and more about sustaining a mood -strange, echoing, and slightly hypnotic. 'Exalt The Horn' stands as a quiet, peculiar artifact from a time when making something this odd didn’t need justification -and when a band like The Oroonies could drift between obscurity and rediscovery without ever fully settling into either. 

 

Label: Better Days Distribution – none 

Format: Cassette, Album 

Country: UK 

Released: 1986 

Style: Folk Rock, Psychedelic Rock, Ambient, Space Rock, Ritual Ambient 

 

Tracklist: 

A1 Exalt The Horn 5:54 

A2 Oinkoi 7:34 

A3 The Raising And The Subsequent Plunging Of The Lance Of The Fisher King (From The Film "The Royal Martyr") 7:04 

A4 October 23rd 6:59 

A5 Nursery Thyme 9:28 

B1 Emporer Norton's Revenge 11:56 

B2 Eclipse Celipse 5:06 

B3 Guinea Fowl (Queen Eats Rat) 2:50 

B4 I Fondled The U Bend With A Rubber Glove 3:19 

B5 Inbetweenit 0:35 

B6 Shadwok 3:19 

B7 Dance Of The Deekshitars 5:06 

B8 Derraneanig 3:45 

 

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Nachdenkliche Wehrpflichtige – Politik Für Junge Leute [7''] (1980, Zickzack)

 

In the more offbeat corners of German post-punk, 'Politik Für Junge Leute' by Nachdenkliche Wehrpflichtige stands out as a small but striking release with a lot of atmosphere packed into it. The name Nachdenkliche Wehrpflichtige -“thoughtful conscripts”- already hints at the project’s perspective. The context is late Cold War West Germany, where compulsory military service and rising political tension shaped everyday life for young people. That background seeps into the record, giving it a quietly uneasy tone rather than anything overtly dramatic.

 
It came out on Zickzack, a label closely tied to experimental acts and the more unconventional edge of Neue Deutsche Welle. Zickzack releases often carried a raw, unpolished character, and this single fits right in with that ethos.

 
The sound is sparse and tense: clipped guitar figures, rigid rhythms, and vocals delivered in a detached, almost observational way. There’s little interest in melody for its own sake -everything feels functional, like it exists to underline a point rather than to entertain. The production leans toward a DIY aesthetic, adding to the sense of immediacy. 

 
The tracks circle around the idea of politics being simplified and repackaged for a younger audience. There’s an undercurrent of irony in how it presents that dynamic, suggesting a disconnect between institutional messaging and lived experience. Instead of overt protest, the tone lands somewhere closer to skepticism and quiet resistance. 

 

It occupies an interesting middle ground: not as abstract as some experimental contemporaries, but also far removed from the more accessible side of Neue Deutsche Welle. The result feels less like a conventional song and more like a snapshot of a particular mindset -watchful, critical, and shaped by its moment. 

 

 

Label: Zickzack – ZZ 8 

Format: Vinyl, 7", 45 RPM, Stereo 

Country: Germany 

Released: Aug 1980 

Style: Jazz-Rock, Avantgarde, New Wave, Art Punk, Neue Deutsche Welle

 

Tracklist: 

A1 Hundert Mann 2:10 

A2 Er Steht Im Tor (Wenn Es Sein Muss) 0:40 

A3 Das Traumendspiel: Freunde Müsst Ihr Sein / Hrubesch 0:52 

B4 Schwierigkeiten / Gerittene Manifeste 1:51 

B5 Arbeitereinheitsfrontlied 1:48 

 

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