DiskoB.com

F.S.K – X

 
F.S.K - X
F.S.K - X 

 

 

 

 

 

 

 

 

Pan or Ama - Console

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Format: CD | LP

Sub Up Records
SUB CD/LP 34
Release: 3. November 2000
#Indigo

Tracklisting:

01. The Key Of Busta Rhymes
02. Westdeutscher Rundfunk
03. Lido
04. Romantische Strasse
05. Berliner Ensemble
06. The Charleston Maschine
07. Casino
08. Grosser Arber
09. Haus Der Kunst

Here comes the tenth studio album of F.S.K. In the 20 years that they are around, F.S.K. (still Thomas Meinecke, Michaela Melián, Justin Hoffmann, Wilfried Petzi and Carl Oesterhelt) have time and again been good for musical surprises. Their uncompromising ways have sometimes even offened their fans, while making others especially interested in their music. They are still the most invited non-english band to attend Peel-sessions and are one of the few german bands besides Can who were granted an entry in a book called the „Unknown Legends of Rock’N’Roll“. After exploring a musical territory somewhere between No Wave and Country, they have discovered their love for electronic music and its repetitive sound-structures since their Disko B 12‘‘ „4 Instrumentals“.With their tenth regular studio album „X“ they are following a path layed out on 1998‘s “Tel Aviv”. F.S.K. again redefine the roles music and lyrics have so far played for them and all that is actually left of „lyrics“ are the song titles, if at all sung by the band in a choir (!) (imagine them singing titles like „The Key Of Busta Rhymes“ or „Haus der Kunst“!). So „X“ has become an almost instrumental album which can be connected to current trends of instrumental band music on labels like Payola, Kranky or Thrill Jockey. For the second time, they’ve teamed up with the producer Mario Thaler in the Uphon Studio in Weilheim.

F.S.K. – Tel Aviv

 
F.S.K. - Tel Aviv
F.S.K. - Tel Aviv 

Tel Aviv - F.S.K.

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Format: CD

SUB31 | Indigo

Tracklisting CD/LP:
01. Taunus Anlage
02. Odenwald
03. Stilleben
04. Kuckucksnest Komplex
05. Jazz Lexikon
06. Jaques Rivette of Paris
07. Altneuland
08. Rote Sonne
09. Peki d’Oslo
10. Ich als Text
11. Tel Aviv
12. Lost in Munich

 

 

In the 18 years that they’ve been around F.S.K. (still Thomas Meinecke, Michaela Melián, Justin Hoffmann, Wilfried Petzi and Carl Oesterhelt) have time and again been good for musical surprises. Their uncompromising ways have sometimes even offened their fans, while making others especially interested in their music. They are still the most invited non-english band to attend Peel-sessions and have just recently been able to present their new material in London’s honourable Queen Elisabeth Hall. 

After exploring a musical territory somewhere between No Wave and Country, they have now discovered their love for electronic music and its repetitive sound-structures. They are following a path layed out on last-years vinyl only E.P. release “4 Instrumentals” (Disko B), consisting of four tracks all of which are also included in the CD-version of “Tel Aviv”.

F.S.K. leave behind the type of song format which has been typical for their approach in the recent years and redefine the roles music and lyrics have so far played for them. The vocals are integrated elegantly in a non song-like manner, never forgetting the moments where the voice needs to make a clear statement and go beyond the pure refinement of instrumental music (check out “Rote Sonne”).

F.S.K.’s journey starts in downtown Frankfurt (“Taunus Anlage”), takes us to to the Odenwald (which also stages Thomas Meinecke’s new novel on gender-confusions called “Tomboy”), Tel Aviv’s beach (the wonderful cover) and back to Munich (“Lost in Munich”). On their trip they thumb through a jazz-encyclopedia and bump into Jacques Rivette and Peki D’Oslo (the name Amanda Lear was using when she was still performing in transvestite-shows).

For the first time in the 90ies, they’ve not recorded their album in the U.S. but linked up with the uphon Studio in Weilheim. This documents their respect and shared spirit with one of Germany’s presently most exciting music scenes, located between rock, jazz and electronic music. Here F.S.K. once again managed to add their unique flavour to the current state of the art.

DIE GOLDENEN ZITRONEN – Economy Class

 
DIE GOLDENEN ZITRONEN - Economy Class
DIE GOLDENEN ZITRONEN - Economy Class 

 

 

 

 

 

 

 

Mono - Console

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Format:
Remastered 180g Vinyl Reissue

Special: incl. coloured poster artwork
by Daniel Richter

SUB29  |  Indigo  84790-1

UPC: 8 80918 90291 3
Release Date: 28.01.2011
Erstveröffentlichung: 06.08.1996

Tracklisting:
01. Meine Kleine Welt
02. 0:30, gleiches Ambiente
03. There’s no Business like Business
04. Das Binnenland
05. Wer soll das entscheiden
06. Muss Ja
07. Hände hoch, Papa
08. – Fin de Millénaire
09. – Menschen haben keine Ahnung
10. – Zuchtmethoden und Binsenweisheiten
11. – Unser Potemkinsches Dorf
12. – Munich
13. – Auf dem Fundament meiner Initialien
14. – Meine Suppe ess ich nicht

LADIES AND GENTLEMEN: NEW MUSIC BY THE HAMBURG´S GOLDENE ZITRONEN. NEW MUSIC BY A GERMAN BAND WITHOUT A PRIVATE LIFE. IN THEIR ELEVEN YEAR HISTORY THE BAND HAS KEPT CANGING THE PERSPECTIVES FROM THEIR IRONIC „FUNPUNK“ BEGINNINGS OF THE 1987 DEBUT „ PORSCHE, GENSCHER, HALLO HSV“ TO THE WILDSTYLE RAUNCHY WILD BILLY CHILDISH PRODUCTION OF 1991 „PUNKROCK“ (RELEASED ON JETSET/ BIG CAT RECORDS IN 1995), TO 1994´S POLITICAL GARAGE, BEATHOMMAGE „ DAS BISSCHEN TOTSCHLAG“ (ON SUB UP RECORDS) WHICH HAS FINALLY BROUGHT THE „GOLDIES“ TO THE FOREFRONT OF GERMAN INDIE-ROCK. 

DEFINETELY NOT MADE FOR THE TAUT AND TAME; THEIR NEW SIXTH LP HAS REPLACED INTIMACY WITH FREEDOM AND FRESH SONGFORMS.

ADRESSING BOTH SIDES ON THE BORDERS OF PAIN (?) „ECONOMY CLASS“ IS SPEAKING ABOUT IMROVISATION. BEAR WITNESS TO THE „GOLDIES“ TREATMENT OF MISNATHROPIC NEW WAVE AND FREE JAZZ ELEMENTS, AND YOU HEAR THE BEST THING HAPPENING SINCE THE INVENTION OF SOUNDFILM.

LIKE GODARD´S WEEKEND IS SHOT ON LOCATION WITH YOUR NEIGHBORS NEXT DOOR. NOTHING REALLY SERIOUS.

THIS IS DAMMN SERIOUS, UNINTENTIONALLY.

TO LEARN FROM SINGER SCHORSCH KAMERUN MEANS LEARNING TO SING. CHECK OUT THESE GNARLY LYRICS ABOUT THE END OF THE GERMAN WELFARE STATE AND A FATHER, WHO IS NOT LISTENING.

LIKE REALITY NEVER HAPPENED. THIS IS FIN DE SIECLE MUSIC FROM ANOTHER PLANET.

RECORDED ON AN ANSWERING MACHINE.

IMAGINE THELONIOUS MONK ALONE IN SAN FRANCISCOS EARLY PUNK SCENE IN 1977.

„ECONOMY CLASS“ IS MADE PRACTICALLY WITHOUT „GOLDIES“ GUITARIST TED GAIERS GUITARS.

LOTS OF PIANO AND TEISCO ORGAN SOUNDS INSTEAD, DELIVERED BY THOMAS WENZEL. WELCOME TO GOLDIES NEWEST MEMEBER, INTERNATIONAL INDIE-EMPLOYEE HANS PLATZGUMER ON FUNKY REHAB BASE-GUITAR! AS ALWAYS, THE GOLDIES HAVE MR. ENNO PALUKA ON DRUMS. POUNDING THE BEAT OF EVERETT JR. AND DEUTSCH AMERIKANISCHE FREUNDSCHAFT.

ALSO ON BOARD, THOMAS MEINECKE AND WINFRIED PETZI AKA THE BRASS SECTION OF MUNICH´S FSK AND A STUNNING VOCALIST NAMED CLAUDIA BASRAWI ON THE CHOICE CUT „MUNICH“. THE NAME OF THE RECORD: „ECONOMY CLASS“. IT IS BROUGHT TO YOU BY SUB-UP RECORDS FROM MUNICH.

THE NAME OF THE BAND: DIE GOLDENEN ZITRONEN.

„ECONOMY CLASS“ IS THEIR MOST PERSONAL ALBUM UP TO DATE.

JOCHEN DISTELMEYER (1996)

F.S.K – International

 
F.S.K - International
F.S.K - International 

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Format: CD

SUBCD28 | Indigo

Tracklisting CD/LP:
01. Roxy Munich
02. Die Kaiser Wilhelm
03. El Pastor Aleman
04. Olympiaturm ’72
05. I Want Out Of The Circus
06. El Pit Bull
07. She Acts Like A Woman Should
08. Mark Twain In Heidelberg
09. Mein Kubano Girl
10. The Moog Banjo Revival
11. Euro-Trash Girl
12. Karl-Eduard Von Schnitzler Polka
13. When Amish Go Bad
14. Amon Düül Diskographie
15. Das Schlechteste Land Der Welt
16. Jane Fonda Lied
17. Josh’s Melodica Intermezzo
18. Dachshund Walzer
19. To The Other Woman
20. 1+1=3
21. Medley [Was Kostet Die Welt / Kleiner Polizist]
22. Roxy Munich 2

FSK is a German band. Their original artnik/punk sound (ca. 1980) mutated into a twisted take on oompah-heavy Bavarian roots music –and its bastard stylistic offspring, American country & western; their ever-evolving sound currently folds lo-fi electronica into the mix. Along this iconoclastic route they’ve collected David Lowery (of Cracker and Camper Van Beethoven) as a charter member; he plays/sings on and produced “International.” With this, only their 2nd US release ever, they blur both border and gender lines with their sharp cross-cultural wit. 

Fricke, ROLLING STONE
“An anarchic hybrid of beerhall bonhomie and Camper Van Beethoven-style avant-folk sport.”
Meyer, OPTION
“FSK re-appropriates American roots music of European extraction, then electrifies it with fuzzy guitars, cheap organs, and rude brass.”
Lien, CMJ
“…FSK is that band in a thousand that has the smarts to poke fun at everything (including themselves), and the musical clout to make it work.”