back in stock as of
july 30th, 2013
first in stock on
october 9th, 2012
|bureau b (germany) #bb 100 lp|
palais schaumburg “palais schaumburg” double long playing record set
- wir bauen eine neue stadt
- die freude
- gute luft
- ahoi, nicht traurig sein
- grünes winkelkanu
- morgen wird der wald gefegt deutschland kommt gebräunt zurück hat leben noch sinn?
- eine geschichte madonna
- rote lichter (zick zack zz 23, 1980)
- glücklich wie nie (zick zack zz 23, 1980)
- kinder, der tod (version) (zick zack zz 145, 1982)
- telefon (zick zack zz 33, 1981)
- kinder, der tod (zick zack zz 33, 1981)
- aschenbecher (zick zack zz 145, 1982)
- gute luft (live 24.1.1982)
- hat leben noch sinn (live 24.1.1982)
- herzmuskel (live 24.1.1982)
- morgen wird der wald gefegt (live 24.1.1982)
- ahoi, nicht traurig sein (live 24.1.1982)
- rote lichter (live 24.1.1982)
- die freude
- grünes winkelkanu
- ahoi, nicht traurig sein (andreas dorau)
|october 2012 release ; ... double-lp reissue of holger hiller, thomas fehlmann, et.al’s debut album as palais schaumburg ...|
|bureau b press release...|
2-lp (180g) + cd + bonus 7“
release date: october 12th, 2012
the influential german band palais schaumburg has reunited in the classic lineup. since its release in 1981, their debut album has remained in a league of its own: fleet-footed and peculiar, abstract and pop, amateurish and savvy, it showed real alternatives to the then-pervasive crude search for identity found in the "new german wave". the band, which consisted entirely of divergent personalities, has reunited in this formation to rediscover their common ground, further develop, and to perform live.
their few recent live concerts in berlin, cologne, and tokyo were met with rapturous reception – and not only from those in their own age group. in this post-sampling era, with the current, dynamic changes in the creation and reception of music, their statement has lost none of its fascination. anyone who sees and hears the combination of idiosyncratic bass riffs (blunck), bizarre yet catchy rhythms (hertwig, blunck), fehlmann's shrill horn and synthesizer fanfares, and hiller's seemingly atonal staccato guitar work and oblique lyrical conglomerates, will immediately comprehend the influence of this band.
therefore, we are very pleased to reissue the important original works of palais schaumburg in an appropriate and extended format. what do we mean by that? well, in addition to the actual album, this reissue includes a second cd / lp containing all the pieces that the band recorded prior to their debut album (all of them now for the first time on cd), and a previously unreleased recording of a concert in holland. the limited edition 180 gram vinyl double lp additionally contains a single with four tracks from a concert in hamburg where people from the audience – among them andreas dorau – perform their own versions accompanied by the band. a lavish booklet includes rare photographs and liner notes by chris bohn, editor of the british music magazine "the wire".
|palais schaumburg – a brief history:|
in 1980, two students met at the hamburg art academy: thomas fehlmann, who appreciated art and music and wanted to connect them, and the musician holger hiller, who had escaped the fractious hamburg alternative scene, preferring the art school's conservatory of music.
the spirit of the early new german wave blew through the country, the first independent labels vied for innovative artists, and the west german post-punk scene began to take shape. hiller and fehlmann brought in fm einheit (from the band abwärts) on drums and the californian chris lunch on bass. but only shortly after the first single, with timo blunck's bass riffs and the adept drumming of ralf hertwig, did the band establish its classic lineup.
palais schaumburg played numerous gigs in this lineup and recorded a second single (telefon) – then on the indie label zick zack. the recording of the album was enhanced by the british producer david cunningham (flying lizards). soon the music giant phonogram came along waving a contract. though it was predictable that the album would not exactly be a commercial success, its special position in german pop music soon became clear. the attention the album received was considerable, given the "awkwardness" of the music. even abroad, the qualities of the quartet did not go amiss, especially in the netherlands and great britain. these days, alongside to the central works of the famous krautrock bands, it is one of the most sought-after albums of german avant-garde music internationally.
a printed english translation of the lyrics perhaps contributed to album's high profile abroad, as certainly did the appearance of the band: with shaved-up necks, side partings and traditional german jackets, palais schaumburg took a stance against the clothing habits of the punks on the one hand, and the peace movement on the other, toying provocatively with supposedly ur-germanic symbols and meanings. the intention was not merely to be acoustically "different."