Marquee Moon (band)

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Marquee Moon
General information
origin Berlin , Germany
Genre (s) Dark wave , gothic rock
founding 1984
resolution 1997
Last occupation
Skid Byers
Hanzy Nischwitz
Nigel Degray
Tom Petersen
Marquee Moon front man Nigel Degray

Marquee Moon was a band that is attributed to the dark wave movement. It was founded in January 1984 by Skid Byers (vocals), Hanzy Nischwitz (guitar), Nigel Degray (bass) and Tom Petersen (drums) in Berlin . It was named after the album Marquee Moon by the American art punk band Television .

history

In the early 1980s, at a time when the Gothic movement was budding in England , the alternative German music scene was still suffering from the consequences of the Neue Deutsche Welle . Nevertheless, there were also interesting bands in Germany, but most of them were nothing more than insider tips. The Berlin Marquee Moon are one of the few outstanding and later trend-setting bands from this early period. After their founding, they not only developed into one of the most successful Berlin bands, but also into a central and driving force of the wave scene and in the course of their development they became "one of the spearheads" of Gothic Rock .

Today she is one of the most important representatives of this genre. You can call them "pioneers of the German Gothic scene". By 1989 they "brought out neo-psychedelic rock on a mini- LP and two albums , which was considered unique in Germany and found many fans in the independent scene". The Gothic and Dark Wave lexicon notes: “ They became legendary with their first album, Beyond The Pale . With songs like Prince Of Darkness and the title track, the record contains two classics of German Gothic and is also met with great interest in other European countries ”. Further publications as well as numerous concerts and tours follow. Marquee Moon thus conquer a large fan base and become “ figureheads ” of the black-clad subculture .

After the success of her LP Future Patrol in 1989, Marquee Moon suddenly disappeared from the scene for unknown reasons, each of the members following their own path. Three years later, however, she took part in a compilation for a Berlin label with her latest piece, Angst + War , which "met with everyone's approval" and encouraged the group to record a full album.

The releases of the album Angst + War in 1993 and the EP Desert House in 1995 made the Gothic community sit up and take notice again. After an "extremely successful best-of CD " in 1996, the group went quiet. After their appearance at the Bizarre Festival in Cologne in 1997, the band finally broke up. Today they are considered "milestones" of German Gothic Rock and are "stylistically moved closer to groups like The Cure , The Lords of the New Church , The Sisters of Mercy and other greats of the genre". "In the course of their career, the band intelligently and successfully quoted all luminaries in pop history, in which they were sponsored as a means of comparison".

How it all started

As early as the spring of 1984, Marquee Moon presented the single Don't Go Out Tonight, her first release, the effect of which was even put up for discussion by John Peel . Don't Go Out Tonight was reminiscent of Siouxsie and the Banshees or Echo & the Bunnymen , because contrary to what the band name suggested, Marquee Moon did not emulate the band Television , but rather The Cure or U2 . The next publication appeared in the same year, the sampler Berlin Visions . Marquee Moon was then represented with the titles The Poison Is Working and Candy and the Golden Flies . The five Berlin bands Fou Gorki , Stricher , Blue Face , Imperial Dance Band and Marquee Moon gathered on this long-playing record were part of the city's best.

The music critic Hans-Jürgen Günther wrote: “The overall most convincing tones come from Marquee Moon: high-speed rock with pop appeal, which gets its inspiration from the Doors and the late seventies new wave bands. The dark texts stand in exciting contrast to the very vital music, which comes up with a number of good ideas in detail ”. The Germany-wide music magazine Musik Szene stated: “Marquee Moon - everything is just right with them. Guitar pop based on the sixties. Keith Relf of the Yardbirds is now called Skid Byers. Said Yardbirds couldn't have brought the song Candy And The Golden Flies better. The Poison Is Working is a good composition, a good arrangement, with bass, guitar and drums playing for each other and adapting to the song so well that you are unfortunately not used to from most German bands. "These two titles already indicated, in which direction the band should go in the future. Kafkaesque horror film scenarios with a soundtrack from the 1980s in a sixties beat . Literary influences like HP Lovecraft and Edgar Allan Poe were incorporated as well as own personal nightmares.

“Marquee Moon had created an English-language version of rock that was far away from dead fields. But what was actually amazing about Marquee Moon music was that it did not provoke any direct comparison with these great sources of inspiration, because the self-confidently developed own line revealed a completely different parallel: the Australian example. Just as the bands from the fifth continent installed increasingly disconnected soundscapes, Marquee Moon could do things with impunity that contained the seeds of a new positive approach in this country ”.

In 1985 Skid Byers had to retire to the managerial position for health reasons and left the vocals to Nigel Degray, who also took over the rhythm guitar. Humphy Sabothe was new to the band. From now on, Byers secretly pulled the strings as manager and became the driving force behind the band. In addition, he was still available to the band as a songwriter.

Beyond the Pale

With their 1985 album Beyond The Pale in their luggage, the newcomers went on tour with the Ramones , the legendary forefathers of US punk rock , just a year after they were founded . This engagement as a support band for the Ramones contributed considerably to their popularity. What came out of it brought the notorious black and street wearers into the ban mile of the magic word “Gothic”. Her open affection for Poe , Kafka, and Lovecraft made this understandable. With Beyond the Pale , Marquee Moon had taken on the pioneering role of a scene that was not even perceived as "the" Gothic scene at the time . Still very much determined by the raw power of punk (bands like Bauhaus or Killing Joke were the benchmark) this new trend from England was just emerging in this country.

In an interview from 2004 Nigel Degray says the following: “Siouxsie and Robert Smith were our figureheads . The majority of the audience, as well as that of the journalists, was always very irritated at our sight. At the beginning they kept asking things like: 'What are you? Are you punks ? Why ever are you laughing at? "One must not forget that a band like the Sisters at the time was about to be only in the Underground to establish and I remember how the music at the beginning of the press with Bowie or Lou Reed to tried to explain, because the Gothic pattern that was created later did not yet exist. "

This first album, "whose pieces all had hit potential", and the numerous concerts that went with it, earned the band the reputation of being "the hottest pop underground band in Germany". “With its musical concept, the band was unique in Germany and Berlin. Only international comparisons such as The Cure , Magazine or U2 could be used to do justice to their importance for the future ”. The Berlin city magazine Tip wrote in this connection: “Simple and fantastically beautiful songs that are not destroyed by overloaded studio arrangements are what make Marquee Moon stand out. Their influences from the sixties and eighties , which they reflect in neo-psychedelic soundscapes, leave nothing to be desired in terms of intensity. The songs on their LP “Beyond The Pale” are proof of what it has to sound like to get addicted to even more material ”.

The four "Moonatics" knew how to " draw a musical conclusion from the rock music of the last twenty years and at the same time stand firmly in the present". The influences from garage beat and psychedelia to the most competent new representatives of English rock music were palpable - but for the band “it was not about reviving or copying a style of music. Marquee Moon tried to create their own music ”. It wasn't the real British or Australian sounds that were copied, it was about the intellectual independence that the Aussies had so brilliantly demonstrated and which the group used to orient itself.

Strangers in the Monkey Biz

In the summer of 1986 her second single Here Today and Gone Tomorrow was released , simultaneously as a 7 Inch and maxi single and a few weeks later the album Strangers in the Monkey Biz , which revealed a new side of Marquee Moon's musical versatility. Most of the tracks came from the songwriting team of Degray / Byers.

With this new album, the Berlin quartet had given their dark, dark image a few psychedelic splashes of color and presented themselves, “with a pinch of malice”, on their second LP as imaginative and varied. The band's rather violent live style had been smoothed out a bit in the studio, whereby, as the critic of the New Wave magazine Limited Edition put it: "For the bass and guitar areas, a little too much fabric softener was tipped behind the controls in places". Nevertheless, the production was successful without taking the band's face. Marquee Moon had learned a lot from songwriting.

Some songs were kept in the tight beat of the seventies, with the charm of the glitter rock heyday ( Here Today And Gone Tomorrow ), others went heavily on Gun Club & Pontiac Brothers terrain ( Soul Of Secrets ), came out fun-punk ( When The World Goes Blind ) explored Undertones paths ( Virgin Summer ) or shone with a pleasant Southern touch. ( The Girl In The Garden ). The keyboard-accentuated puppet , which sounded like “a mixture of the guitar era Cure meets the Love It to Death era by Alice Cooper” and the Feel So Tired equipped with a strong guitar , which in a way gave the sum total of this amazing LP, were also convincing .

On this record, the band had reached into the beat box with relish and wrote catchy melodies that went quickly and easily in the ear. Next to it were the gloomy titles with their pumping bass lines and the distant thunderstorm drums as well as the relentlessly evil rock songs. Evil, psychedelic and independent between the vague cornerstones of Cure and Electric Prunes , they convinced with good musical ideas and a sinister atmosphere. "Each piece is unmistakably Marquee Moon". With this album they are making a post-punk-psychedelic-guitar-pop, which, in its balance between psychedelic-like gloom and snotty high spirits, fit exactly into the emotional budget of the time. Marquee Moon "tried to create their own music, and on this LP they succeeded without reservation." At the same time, they tried to get rid of their previous dark image.

In an interview with a Hamburg music magazine, they spoke of wanting to “fundamentally free themselves from all influences” and “POP”. In an earlier interview with the Berliner Morgenpost , guitarist Hanzy Nischwitz stated: “We already have ambitions to develop our own style. We are not a dark wave band either , but of course we are inspired by all sorts of influences, music from different eras, books, films. We started in New Wave times. That shapes. I'm really into '60s groups, Stooges , Velvet Underground , Stones and so on. Of course you try to bring that in, it has a big influence on the group sound ”. And it was powerful, very compact, rocky and, despite its sharpness, highly melodic.

Strangers in the Monkey Biz was a very colorful, entertaining album that offered more than enough variety to appeal to indie fans and dark audiences alike. This is why both critics and fans found this record “great and thoroughly enjoyable without remorse”, called it “an excellent record” and named it “one of the outstanding records of the year”. With perseverance, constant quality and constant development of their style, the "four fighters of rock 'n' roll", with the support of their manager and ex-singer Skid Byers, were "on the unswerving way to the top".

New musical territory

In the spring of 1987, the band released their new single Land of the Lonely . A “significant step forward for the team of four”. "Sgt. Skid & his Lovely Hearts Pop Band “had struck again. Despite their love for the psychedelia of the sixties , the troupe managed with this single to "break out of trends and fashions and make their own music". Sharp piercing guitars with clamming drums, and the hook line was right too. The back of Flying Robert was more elegiac, but no less powerful. That was " Hard-Rock by Hoodoo Gurus-Format!"

With Land of the Lonely the band had broken into new musical territory. On this single they started experimenting and building samples into their music. In doing so, they embarked on a path that should open up a lot of musical creative freedom. However, one thing clouded the joy of this great opportunity for development, and that was the departure of their drummer Tom Petersen. According to a rumor, he wanted to go to London because he was going to join The Cult as the new drummer. Some time later, however, this claim turned out to be false. His successor on drums was Marc Barlow, a friend of Bassmann Humphy Sabothe's circle of friends. With their new drummer they then completed the Germany tour in December 1987 as a support act for the Kinks and took the opportunity to say goodbye to their underground status. The tour with the Kinks and other concerts of their own brought the band an additional, considerable boost in popularity. Furthermore, the band had “audibly strengthened and gained in format”.

The Berlin band, "on whose qualities the public and critics in the city for once agreed", has been tinkering for almost four years on its independent variant of a contemporary hard rock with mass appeal that is decoupled from the UK and US markets . "Marquee Moon's mixture of well-measured use of strength, city romance and almost keyboard-free guitar glory was always a rare plant in this country". In July 1988, as one of the first indie bands, she gave one of the most important guest concerts in the GDR in the Werner-Seelenbinder-Halle . Two months earlier, at the invitation of the GDR youth radio DT 64 , she headlined the first independent Festival of the GDR were. The concert was recorded by GDR radio and broadcast a few days later.

During this time, the band's contacts with other GDR musicians were strengthened. But not exactly to those who would have corresponded to the musical concept of the band. But this did not affect the friendship. As a result, there was talk of a planned tour with the GDR band City . Marquee Moon Bandleader Nigel Degray: “I met Toni Krahl [singer of the GDR band City] at the time in West Berlin. The contact was made through DT 64 . Personally, I found him very nice and in our part of the city would have preferred to deal with him rather than some narrow-minded wooden heads from the local scene. Nevertheless, at that time I was much more curious about a band like the Skeptiker , with whom a possible joint tour seemed more logical to me. In fact, a year later a tour was already set, without the skeptics . Various hurdles and difficulties had been overcome, the posters for the tour were already ready, when about a week or two beforehand the refusal from the Ministry of Cultural Affairs fluttered into the house. Reason:> Due to current political events. <. Original sound. It was October 1989! "

The break with Skid Byers

Due to the growing pressure of success and expectations, there had been tensions within the band for some time. There were also different musical understandings. With their songs from the LP Strangers in the Monkey Biz , but especially with the single Land of the Lonely and the songs they recorded at the same time, they had developed musically. However, these new releases were withheld because parts of the band felt it was too early to release them. The band wanted to put the new material on hold first. Skid Byers, their manager, took a different view.

This made it clear that for the first time the musical conceptions within the band diverged considerably. Byers wanted to advance the band's career with songs in the style of Land of the Lonely , Strangers in the Monkey Biz and the musical experimentation that could be heard on the new material, which Nigel Degray and Hanzy Nischwitz did not like because they were more songs wanted to write that were harder and faster and were more oriented towards punk. This led to the formation of groups within the band. Bassist Humphy Sabothe, like Byers, also relied on the new song material that had already been recorded and continued to write songs of this kind. He wanted to follow Byer's idea and pursue a stronger orientation towards indie rock, or a turn to pop. Byers noticed that he had reached his limit and saw his musical influence in the band waning. How should he continue to work successfully with you when you have lost confidence in your own abilities? Growing resentment spread among all those involved. The similarities were apparently becoming less and less and it seemed only a matter of time before these ambivalences would develop into a serious crisis.

The band didn't have the time or capacity to really think about it, however, as they were too busy focusing on numerous performance engagements. As a result, they were quite under tension and had to deal with a lot of stress during the strenuous tour life. They also had to go to the studio to record new songs. One of the first songs they recorded in preparation for the new LP was Future Patrol . In a kind of metamorphosis, the song picked up where Land of zhe Lonely left off, because Future Patrol had become more atmospheric and more poppy at the same time. In this phase Humphy Sabothe left the band. The bassist felt disadvantaged and increasingly got the impression that his songs were not adequately represented within the group, and he also felt that he was not sufficiently recognized by his bandmates. As early as the summer of 1986, when recording Strangers in the Monkey Biz , the band had a crisis. Sabothes post has not been filled. Nigel Degray took over the bass part. From now on the three of them continued, because they were completely in the preparations for their upcoming LP. After several concerts, they finally withdrew to record the songs for their new album.

Although Skid Byers was behind the camera at the beginning of the recordings and had shot an extremely psychedelic music video for the song Future Patrol , he increasingly withdrew from the band. It didn't hit her like a bolt from the blue, but it was a shock when Byers finally stepped out of management. This ended the long-term collaboration of a community that had been conspired for years. His exit from the band created a kind of internal shock, as it meant an enormous impairment, because it not only meant the loss of their manager, but also the loss of their songwriter. Byer's withdrawal left a considerable void. His relationship with the band had been very close, as he played a key role in the story of Marquee Moon. As an ambitious initiator, he had great influence within the group, especially as a pacemaker and source of ideas. The remaining members could not forgive him that he had now disengaged, and thus also broken the close personal bond with them. The real reasons why Skid Byers felt compelled to take his hat off are not fully understood to this day.

The remaining band members needed some time to recover from the end of their era together. Then they returned to the studio to continue working on their new album. However, they not only had new songs, but also a new concept, which they called “metropolitan rock”. Some pieces, such as the first version of Future Patrol , were already finished and well arranged, but all previously recorded songs were confiscated and everything was recorded again in completely new versions. Some of the new recordings lost much of their original effect. Musically speaking, Marquee Moon delivered a completely different concept, because the new versions were decidedly different from the songs in the original version. Did this have to do with the breakup with Skid Byers that they made such a radical change in style?

Future Patrol

The 1989 album Future Patrol , provided with a back cover, on which a number of thanks and respectable inspirations between Kinks and Ramones could be captured using an alienated subway overview , finally struck “harder notes with loud guitars and placed less value on common melodies ”. With this, Marquee Moon was closer to Killing Joke or Shock Therapy . After a long absence and a creative break, they had reoriented themselves musically, abandoned the old image and found a style that was rather anti-pop from the swamp of all possible indie pop currents.

The group, which had shrunk to a trio, presented itself as a band that had learned to work with seemingly spartan means. Guitar, drums and vocals marched relentlessly forward, combining trash , metal and punk into a straightforward and straightforward symbiosis . In doing so, pleasing melodies were deliberately avoided and “an atmosphere was created that could consistently match scenes like“ Max Headroom ”or“ Bladerunner ””. Marquee Moon presented themselves in a completely new style. Their LP broke with everything that had gone before. “With this album, Marquee Moon anticipated the later, very common merging of Gothic with Metal and Industrial elements. For this mixture, newcomer bands were later celebrated as innovative and achieved astronomical sales figures ”.

Future Patrol , wrote the French music magazine Guts of Darkness , has also inspired groups like Girls Under Glass . With their own Future Patrol promotion tour and appearances as the opening act for Red Lorry Yellow Lorry in the fall of 1989, Marquee Moon still used the many opportunities to perform within Germany, but at the same time began their swan song , because six months later, in the summer of 1990, they broke up the band on.

The reunion

At the beginning of the 90s it became quiet around the band, the longstanding band nucleus had split up. Marquee Moon seemed to no longer exist, and that just when the renaissance of Gothic culture began in Germany. This renewal did not come up against the difficulties that Marquee Moon had encountered when it was founded. Now the "successors Marquee Moons or Xmal Germany brought in the harvest that they had sown at the beginning". From 1993, however, Nigel Degray appeared again in public.

The only remaining founding member had reformed Marquee Moon and the band returned with the very atmospheric-Gothic album Angst + War . A year earlier, in 1992, the track Angst + War was published on a sampler from the Dossier label. The good response was the starting point for releasing an entire album under the same name.

On Angst + War , the "ambassadors of dark stories" colored their Gothic Rock with a feeling of post-punk , which also took up the sinister melodic thread. This album had left the ruthless violence of Future Patrol behind and, with a pinch of experimentation, had produced a production that was surprisingly in the style of the 1980s. The choice of the rather sparse arrangements fit well with the group, which delivered a whole series of memorable, excellent compositions. The mood, the atmosphere of this disc had "something cold and dry, caused by the sound machine-like rhythm, which Nigel Degray followed in great form with the dirty, gloomy sound of the guitar behind his microphone and thereby took care of the rest". Through this CD and in the course of the Gothic Rock Revival that began at that time, the group experienced an enormous boom and consequently became accessible to a new generation of fans, which in turn led to sold-out concerts. The Berliners had been frequently been "between Batcave and limbo romping" so that made CD Angst + Was it now finally to "favorites of the Dark Scene".

The mid-nineties brought Marquee Moon back touring various European countries including Germany, such as B. the legendary tour "Gothic Over Europe" or numerous other appearances at festivals and concerts such as in Leipzig , Cologne , Vienna , Budapest , Milan , Zurich or London . During this time the band members changed several times, but one remained: lead singer and songwriter Nigel Degray. The line-up from 1993 to 1997 included: Jörg Gröning, Matthias Hackbeil, Christian Fiedler, Dirk Weinert, Jörg Künicke, Reiner P. and Torben Stupp. From 1994 they toured the world with a new, changing line-up and repeatedly published articles on numerous Gothic samplers.

Goodbye and farewell

In 1995 another musical sign of life followed in the form of the CD Desert House . The music on this disc was partly reminiscent of the last release, Angst + War, and “reflected the band's very own conception of Gothic ”. The pieces were “atmospheric to apocalyptic”, but “also quite hard and driving”.

The fact that the Gothic-Post-Punk formation Marquee Moon was able to record its beginnings in the mid-1980s was in no way denied at Desert House and so they indulged in "clinking guitar waves that fell on the listener like traumatic fog", "on the Traces of The Cure and Killing Joke ”. With the new release, Marquee Moon definitely broke out of the goth cliché and partially showed "the very aggressive side of the group with their powerful riffs", which was also reminiscent of the Future Patrol phase . Deliberately monotonously programmed drum computer sounds supported by two guitars made 'the hearts of all people dressed in black and made up in white with dark trains of thought beat faster'. A year later, the "extremely successful" compilation Best of Marquee Moon 1985-1996 followed , which represented a cross-section of the entire oeuvre of the band and with two new songs a foretaste of another new album , which was never to be released.

The breakup of the band after their appearance at the Bizarre Festival in Cologne in 1997 came as a surprise to many. The new record, No More Intelligence? , was already announced and further concerts planned. Nigel Degray had not made this decision lightly. In an interview with the music magazine Transmission he talked about the reasons for the breakup: “We had already started work on the new CD, New Religion and Ghostdance were pieces from this session and were used for the Best Of Marquee Moon compilation . We still had 2 versions of No More Intelligence? recorded, but both remained unfinished. The irony was that the chemistry in the band was actually better than ever. It was the external circumstances [budget, marketing, etc.] that gradually made me see the pointlessness of the company “ Independent Band”. I then thought the framework [of the Bizarre Festival] for a last Marquee Moon concert was well chosen, I6. August 1997. ”With that, the“ figureheads ”of a dark subculture disappeared from the spotlight forever.

The wave magazine Eclipse wrote two years before the group split up: "Marquee Moon are and will always belong to the Godfathers in the Gothic area". Eclipse magazine is not alone in this opinion, as shown, for example, by the various forum posts on the Internet. The band Marquee Moon was so diverse and stimulating that it will remain a fascination for a long time to come. This is especially true because there are many myths and legends surrounding her career and not everything has been clarified in this regard.

Discography

Albums

  • 1985: Beyond the Pale (EP)
  • 1986: Strangers in the Monkeybiz (LP)
  • 1989: Future Patrol (LP / CD)
  • 1992: Angst + War (LP / CD)
  • 1996: 1985–1996 (CD)

Singles

  • 1984: Don't Go Out Tonight (7 ")
  • 1986: Here Today and Gone Tomorrow (7 "/ 12")
  • 1987: Land of the Lonely (7 "/ 12")
  • 1989: Dancing at Twilight (Promo-7 ")
  • 1995: Desert House (CDS)

Other albums

  • 1984: Berlin Visions (LP): The Poison Is Working, Candy and the Golden Flies
  • 1992: Dossiers (CD): Angst + War
  • 1994: Godfathers of German Gothic (CD): Don't Go Out Tonight
  • 1994: Gothic Compilation Part I (CD): Edge of Time
  • 1995: Monochrome: A Tribute to The Sisters of Mercy (CD): Vision Thing
  • 1996: The Sounds of New Hope (CD): Desert House
  • 1997: A Tribute to David Bowie: The Dark Side of David Bowie (CD): Holy Holy
  • 1998: Ghostriders of German Gothic Vol. 1 - The Godfathers Return (CD): Beyond the Pale, Prince of Darkness
  • 1999: The Independent Sound of Berlin (CD): New Religion
  • 2001: Gothic Club Classics Vol. 2 (CD): Angst + War
  • 2006: Strobelights Vol. 3 (CD): Prince of Darkness
  • 2010: Deathrocker Tour Vol. 2 (CD): Prince of Darkness

Web links

Individual evidence

  1. ↑ a b c d e f g http://www.stormyvisions.de/gothicreihe4.html ( Memento from February 19, 2005 in the Internet Archive ) , stormyvisionsradio
  2. ↑ Oxmox, Hamburgs Stadtmagazin, No. 11, November 1985, p. 17.
  3. ↑ a b c http://www.trouserpress.com/contributors.php/terryrompers/strangersinthemonkeybiz , www.trouserpress.com, accessed June 11, 2011.
  4. ↑ a b c http://www.gutsofdarkness.com/.../objet.ph , gutsofdarkness, Le webzine des musiques, accessed on October 23, 2011.
  5. ^ A b Christian Graf: Rock Lexicon Germany. S. 231, 2002, Verlag Schwarzkopf & Schwarzkopf, ISBN 3-89602-273-3 .
  6. ↑ a b c Matzke u. Seeliger: The Gothic and Dark Wave Lexicon. Pp. 280–281, 2002, Verlag Schwarzkopf & Schwarzkopf, ISBN 3-89602-277-6 .
  7. ↑ wolkenspiegel.blogspot.com.thats-berlin
  8. ↑ http://www.darkdimensions.de/index.php?content=artist&artist=81 , darkdimensions.de, accessed on October 16, 2011.
  9. ↑ a b Spex, German music magazine, No. 9, 1986.
  10. ↑ a b Tip, Berliner Stadtmagazin, March 1984.
  11. ↑ Musik Szene, German music magazine, No. 11, 1984
  12. ↑ (see) Text of the inner sleeve of the LP Berlin Visions
  13. ↑ a b Tip, Berliner Stadtmagazin, September 85
  14. ↑ Archived copy ( memento of April 14, 2010 in the Internet Archive ), LabelLos.de, the band and concert database, accessed on August 2, 2012
  15. ↑ (see) Interview in Blickpunkt das Jugend-Journal, page 39, June 1985
  16. ↑ Transmission, Leipziger Wave-Magazin, issue 2, spring 2004, page 21
  17. ↑ a b c Transmission, Leipziger Wave-Magazin, issue 2, spring 2004, page 22
  18. ↑ a b c d Transmission, Leipziger Wave-Magazin, issue 2, spring 2004, page 17
  19. ↑ Go for Gold, Hamburger Musikmagazin, No. 6, 1986
  20. ^ Der Tip-Siegerland, regional magazine, (North Rhine-Westphalia), September 1985
  21. ^ Tip, Berliner Stadtmagazin, No. 9, page 62, 1985
  22. ↑ a b c d e f Joachim Deicke in: Zitty, Berliner Stadtmagazin, No. 21, 1986
  23. ↑ a b Berliner Morgenpost, daily newspaper, October 16, 1986
  24. ↑ Limited Edition, Berliner Wave-Magazin, No. 13, 1986
  25. ↑ a b c d Tip, Berliner Stadtmagazin, No. 23, 1986
  26. ↑ (see) Zitty, Berliner Stadtmagazin, No. 15, July 1986
  27. ↑ (see) WOM, “World of Music-Journal” No. 10, 1986
  28. ↑ Go for Gold, Hamburger Musikmagazin, No. 6, 1986, page 21
  29. ↑ Berliner Morgenpost, daily newspaper, September 12, 1985, page 8
  30. ^ Bravo, German music magazine, No. 45, 1986
  31. ↑ Limited Edition, Berliner Wave-Magazin, No. 13, 1986
  32. ↑ (see) Limited Edition Berliner Wave-Magazin, No. 12, August 1986
  33. ↑ a b Tip, Berliner Stadtmagazin, No. 19, September 16, 1987
  34. ↑ a b Zitty, Berliner Stadtmagazin, No. 19, 23 September 1987
  35. ↑ a b Zitty, Berliner Stadtmagazin, No. 2, pages 44/45, 1988
  36. ↑ a b c Eclipse, Wave magazine, page 5, August 1995 issue
  37. ↑ a b Tip, Berliner Stadtmagazin, No. 25, December 1987
  38. ↑ a b Berliner Morgenpost, daily newspaper, June 17, 1987
  39. ↑ http://www.tapeattack.blogspot.com/2011_04_01_archive.html , tapeattack, accessed on April 15, 2011
  40. ↑ (see) Zitty, Berliner Stadtmagazin, No. 25, December 7, 1987
  41. ↑ Werner-Seelenbinder-Halle
  42. ↑ http://www.degray-publishing.com/ , degray publishing, accessed on August 11, 2011
  43. ↑ Transmission, Leipziger Wave-Magazin, issue 2, page 23, spring 2004
  44. ↑ a b Tip, Berliner Stadtmagazin, No. 22, page 246, 1989
  45. ↑ Skid Byers in: Pure Sound-Radio, broadcast on September 4, 2011
  46. ↑ (see) Andrea Mills in: Limited Edition, Berliner Wave-Magazin, No. 25, 1989
  47. ↑ Limited Edition, Berliner Wave-Magazin, No. 23, 1989
  48. ↑ (see) Limited Edition, Berliner Wave-Magazin, No. 23, 1989
  49. ↑ (see) Andrea Mills in: Limited Edition, Berliner Wave-Magazin, No. 25, 1989
  50. ↑ Limited Edition, Berliner Wave-Magazin, No. 23, 1989
  51. ↑ http://www.musicsage.org/topics/Marquee-Moon  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , accessed November 19, 2012@1@ 2Template: Dead Link / www.musicsage.org  
  52. ↑ (see) Andrea Mills in: Limited Edition, Berliner Wave-Magazin, No. 25, 1989
  53. ^ Text of the program announcement of the arena (venue, Vienna), March 1995
  54. ↑ a b c (see) http://www.gutsofdarkness.com/ , guts of darkness, Le webzine des musiques, accessed on December 2, 2011
  55. ^ Tip, Berliner Stadtmagazin, No. 22, 1996
  56. ^ Text of the program announcement of the arena (venue, Vienna), March 1995
  57. ↑ (see) http://www.degray-publishing.com/ , degray publishing, accessed on August 11, 2011
  58. ↑ a b (see) Eclipse Wave Magazine, page 7, August 1995 issue
  59. ↑ (see) Entry, magazine for dark music, cult (ur) and avant-garde, 1995
  60. ↑ http://www.indietective.de/ . indietective, accessed October 10, 2009
  61. ↑ (cf.) Thomas Vogel in Sonic Seducer, edition: 3/1995
  62. ↑ Text of the program announcement for the arena (venue, Vienna) March 1995
  63. ↑ a b (see) Transmission, Leipziger Wave-Magazin, issue 2, page 18, spring 2004
  64. ^ Zillo, Independent Music Magazine, Issue 11, December 1996