Neue Deutsche Welle
The German New Wave ( NDW ) is the name for the German -language version of the Punk and New Wave that emerged from 1976 and the early 1980s learned their commercial peak.
The NDW figured no single style of music, but was very diverse. It can be used for many of the artists find attributes that would distinguish them from the mass of other artists. However, characteristic were the German language, the relative short life and the frequent rudeness and coolness. But even a minimalism of performances has often been a stylistic device. Many of the artists were just then musically active or successful, some were around 2000 a comeback.
History
Term development
An early mention of the term New Wave can be found in 1977 published fanzine The 80 years of the Joseph Beuys - student Jürgen Kramer. The term New German Wave first appeared in a display of the Berlin record shipment The censor ( Burkhardt Seiler ) in the Hamburg music magazine Sounds in August 1979. It was used for categorization of the first album of the German -American friendship in the display. Two months later, the term was, of course, the term New Wave took up, by the former music journalist and later label owner Alfred MoP for the title of a three part series of articles in sounds used ( " New German Wave - From Grey City Walls" ).
NDW as underground music
In the first half-decade to about 1981, the German New Wave, even though they did not then it was called, an underground movement, whose origins date back to the British punk and new wave music. Very quickly evolved from these beginnings, an original design language, which was strongly influenced by the (compared to English ) more angular and more angular rhythms of the German language, for which a large part of the band had decided early. Among the representatives of this phase include lunch, Down, The Economic Miracle, The Plan or DAF. Sound Specific formed synthesizer that came in those years at affordable prices on the market, the phonetic basis for many works, such as electronic instruments such as the Korg MS-10 and MS models - 20th
The NDW these years had three main cities, namely Berlin ( West), Dusseldorf (labels Rondo, sound barrier and Ata Tak Records ) and Hamburg ( ZigZag Records ) substantially. Smaller secondary centers were among other Limburg, the Rhine-Main area (Mainz, Wiesbaden, Frankfurt) and Hanover ( No Fun Records).
An important part of the NDW at this time was their connection to the visual arts. Major venues like the Ratingen yard or temporarily SO36 were led by artists, artists like Jürgen Kramer with his bands The End of the World and The Twentieth Century and his fanzine The years 80 and the Berlin Salomé ( Geile Tiere ), Martin Kippenberger, The Deadly Doris made this connection clear.
NDW as popular music
In the major record companies the NDW was initially as non-commercial and therefore to market it as difficult. Even with the bands there were, as well as the public, reservations collaboration with industry. This changed, however, as the first marketing campaigns with groups such as incorrect colors or DAF met with a surprising amount of resonance. When the NDW was always successful, one marketed under this label also German singing bands that really had nothing in common with the NDW, or creating relevant retort bands. The genre eventually became increasingly dominated by artists who used elements of the hit song in a modernized, partly ironic form. These included Hubert Kah, Mark, and FM combo Colossale.
Some groups came to considerable international success. Nena ( 99 Luftballons ), Trio ( Da da da ), Falco ( Der Kommissar, Rock Me Amadeus) and Peter Schilling (Major Tom) were able to place yourself in the Anglo -Saxon hits, with interspersed mostly self-produced English versions here.
The commercialization of the music industry led with the authors of the movement, the underground bands, to frustration, and the NDW movement quickly dissolved again. But the commercial variant of the NDW lost a rapidly in importance. Due to the inflationary policies of the publication record companies and the massive media coverage of the genre, the audience was soon oversaturated. Many musicians ended their careers and few projects survived. Thus, the NDW was in the years 1983-1984 to an end.
Historical Significance
The NDW meant that German Singing musicians could easily establish itself commercially in the connection, even if they were to be assigned stylistically not the NDW. Mention may be made here, for example, BAP, Die Toten Hosen Herbert Grönemeyer or.
The NDW also formed again a starting point for new musical movements, such as the Hamburg School.