Image shows not the original frontcover.

Their best album, even better than "Unfähigkeit..", which is great, too.

A more recent and more mature album from this group. Instead of the nucleus of MAX GOLDT & GERD PASEMANN plus select session musicians, they've chosen to form as a loosely-constructed 10 piece band. "Ein Lied Aus Unglaublich Schwerer Zeit" is a slow thing with lots of colour, most enjoyable of which is the guitar which churns and twists along. Again I am inclined to compare it with MAGAZINE circa "Magic, Murder & The Weather", but a lot more subtle, and dare I say it, actually superior. "Könnten Bienen Fliegen" is a thin slow piece of music, subtly minimal with great strength it it's understatement. "Penis»Vagina", a version of the single reminds me of ROXY MUSIC's "The Price Of Love", yet is so much better with it's ability to change from a fairish pace to a sedate drifting quiet thing. It's catchy and you can see why they chose it as a single. Even with the language barrier of my inability to speak German, it's still a track I enjoy playing. "Eingecremter Arbeiter" reminds one a little of early JAPAN with its MICK KAHN-like bass and vocals a little like SYLVIAN's. "Das Leben Ist Uninteressant" is the first of two versions on this album - a medium-paced thing which plods along like some impending incident, a little like the BEATLES played by BILL NELSON with early Eighties PETER GABRIEL lending a hand. It has some nice thick sampled chords over an odd rhythm. "Dans La Ville Blanche" begins with distant noises before suddenly changing into something clearly FOYER DES ARTS. "Senf Drauf!" begins with a showy acoustic guitar flourish, becoming a fast moving minimal thing with a Ethnic/Folksy flavour. "Frauen In Frieden Und Freiheit" is a quirky thing which reminds me a little of "Mommy, Daddy You And I" from TALKING HEADS' "Naked" album - a sort of perky bright Reggae. It has some toothy guitar breaks in the middle - all fitting perfectly. "Ein Fuß Der Dame Anton" opens on a rapid pattering beat, it is a bit of a fragmented song but has plenty of character. This is actually one of the best tracks on the album defying easy description except to say 'typically FOYER DES ARTS!'. "Familie, Pubertät Und Haarwuchs" is a low rapid rhythm over which MAX GOLDT indulges his bizarre array of voices. It has a sort of pocket Rock 'n' Roll sound, if you know what I mean. Next is a minimal mix of "Könnten Bienen Fliegen" using only bass drum and vocals with the instruments showing through in brief glimpses. It has to be my favourite track on the whole album, it's weird mix making it harmonic Industrial music, despite the golden saxophone which sketches itself across the plain canvas now and then. Great stuff. Next up is "Schleichwege Zum Christentum" a much faster piece of music, again bringing to mind TALKING HEADS circa "Naked" or "True Stories", with a generous pinch of JAPAN and DEVOTO. The second (1986) version of "Das Leben Ist Unteressant" comes next, a great litte piece of music with strange treatment to the backing vocals. It has a honed sound which keeps busy. MAX sounds once more like BOWIE on this, although I can never remember him sounding so good. Finally, there is a '7" plus-Edit' version of "Ein Haus Aus Den Knochen Von Cary Grant" which is a good version of this track, the female backing singers sending pleasant chills down your spine. Despite its 7'39" length, you feel disappointed when it ends, wishing it would go on and on. A high point on which to conclude a good - nay - excellent album.Originally reviewed for Soft Watch.