Die Suppe Heilt

Die Form is chiefly the project of French artist Philippe Fichot, who is usually accompanied by singer Eliane P. Primarily an industrial band, Die Form possess a strong gothic sensibility that is manifested in both the music and in the fetishistic sexual imagery of Fichot's lyrics. The project began by recording a number of experimental cassette releases, starting with Die Form 1 in 1977, and with the first Die Form vinyl release ('Die Puppe') appearing in 1982. Whilst the project was still in its infancy, the underlying concepts were still evident - a combination of esoteric electronic experiments with an underlying theme of erotism, death and other 'taboo' subjects, apparent in both the music and the album artwork, which Philippe also produces.

DIE KRUPPS mastermind Jürgen Engler is a visionary who has had a lasting influence on the music landscape for decades. In the late 1970s, he was among the first German punk rockers with his band Male In the eighties, he formed DIE KRUPPS, a driving force of the industrial and EBM movements. When this scene was taken over by the mainstream in the nineties, the group from Düsseldorf integrated tough thrash guitars into their sound and became, along with Nine Inch Nails and Ministry, the most important source of inspiration in the electro metal genre and also influenced numerous bands of the Neue Deutsche Härte (New German Hardness)…

Electric guitars, swinging rhythms, studded jeans and petticoats - rock'n'roll has not only completely changed the entire music world, it was also then and still is today a musical style and attitude to life in equal measure. With "Die Hit-Giganten - Best Of Rock'n'Roll", the well-known Sat-1 sampler therefore now dedicates itself to the legends of this genre, which found its origin in the America of the 1950s. They swing, they rock and "The Hit Giants - Best Of Rock'n'Roll" has them all: the stars and legends of Rock'n'Roll. This collection belongs in every well-assorted CD cabinet!

Born in the vicinity of Cologne, only two years after and some sixty km distant from Beethoven, Johann Wilhelm Wilms was once a musical force to be reckoned with. In Amsterdam, where he lived from the age of 19, his music was actually performed more frequently than Beethoven’s at one period, and his orchestral works were played in such musical centres as Leipzig. Besides chamber music and solo sonatas, Wilms composed several symphonies and concertos, among them piano concertos for his own use.

Of all Schubert's songs, the part songs for male voices are probably the hardest for contemporary audiences to take seriously. The sweetness of the harmonies recalls the saccharine harmonies of barbershop quartets, the emotions of the lyrics recall the sentimentality of greeting cards, and the sheer ubiquity of drinking songs recalls the inebriated bowling banquets of the Beneficent Order of Elks. But while Schubert's part songs for male voices are in many ways the precursors of all these smarmy things, they are themselves quite lovely.