Avantgarde Rock. Bits of Brecht/Weil with elements of Rock and Jazz along with witty tongue-in-cheek lyrics and the expressive voice of “the Volz” provide an anarchistic listening enjoyment.
85-91 is Avantgarde Rock. Bits of Brecht/Weil with elements of Rock and Jazz along with witty tongue-in-cheek lyrics and the expressive voice of “the Volz” provide an anarchistic listening enjoyment.
The Blech (1985-1996). The German band The Blech became known when they came on the scene in 1985, using a combination of experiments with language and music, with a fondness for absurd plays on words. In subsequent years, the band developed these musical experiments into one of the few timeless approaches to pop music in Germany, which enjoyed worldwide acclaim.
The Blech have helped to overturn an artistic millenium which, as a basis for the relationship between Man and nature, had clung to harmony.
The eternal antagonism
The Blech combines what appears to be uncombinable. Construction – destruction, chaos – control, aggression – beauty, they have unified all of these opposing poles into a hard, yet fantastic feeling.
The ensemble created a large-scale, multi-level, paradoxical game employing a number of media in order to disappear behind the shrouds of their self-created confusion. Moving between dadaism and techno, U2 and Stockhausen, the rock music of The Blech is charged with multi-faceted meaningfulness. The thoughts they intend to provoke, however, are not guided along a fixed path, leaving room for freedom of choice among innumerable possible interpretations.
Cultural deception, eroticism and sauerkraut
Hubl G. explains the band’s definition of music as follows: “We ask questions without knowing the answers. We love painting pictures with a view to challenging and provoking the viewer to derive his or her own answers. We call on the onlooker to participate in a creative process. We depict life as an insanely witty, simultaneous concert of murder, cultural deceit, eroticism and sauerkraut. We dissolve the eternal controversy of contrasts in laughter. We convinced the Virgin Mary to wed the devil.”
In addition to their CDs, The Blech presentet equally radical videoclips and unscrupulous live-shows – the already mentioned “treat for the eyes”. The forcefulness with which they flung their conviction from the stage into the audience was at once hypnotic, irritating and erotic. Their six albums and CDs have become a treasure-trove of extravagant, groovy dance hall artistry.
“Competent Crazies.” Spiegel
“One of the most interesting bands of our time.” Jazz Magazin ( Paris, 1987)
“[…] exotic rhythms and a sense of twisted, tongue-in-kitsch – something nobody does better than THE BLECH.” (Artemy Troitsky, Moscow Times)
“The most exciting, contemporary and irritating attempt at new directions in music.” Magazyn Muzyczny (Warsaw, 1991)
“The Blech belongs to those in the music business, who deliver new ideas and possibilities. The Blech are front runners of a new generation of spirited pop protagonists. The Blech is at the cutting edge of the sound of the future.” Option Magazin (USA, 1989)
HUBL G.– drums, programming, sampling, keyboards
R. VOLZ– vocals, trumpet, guitar, lyrics
HB-W– baritone-violectra, violin, piano, keyboards
SHIRLEY HOFMANN– euphonium, susaphone, trombone, piano, accordeon, vocals
JENS VOLK– e-bass, double-bass
LUIGI ARCHETTI– guitars, mandolines
SANDRA SILVA COUTINHA– bass, vocals
THEROFAL– bass, keyboards, sampler, vocals