Hans J. Wegner

Klaus Dinger

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February Learn how and when to remove this template message. First meeting and mutual successes Edit The first match between the two clubs was a 2—0 win for Dortmund in Munich on 16 October Retrieved 7 April Retrieved 30 March Retrieved 23 April Archived from the original on 24 April The Lilac Angels did not disband, but released a further two albums, meeting moderate popular acclaim in Germany.

He has since maintained that she was "the love of my life" and continued to write songs addressed to her well into the s. Shortly after the collapse of Dingerland , Brain Records began enquiring after the third album Neu!

In Dinger and Rother had agreed to a four-year contract with Brain, which specified that three albums be made, and the label, which was itself in financial difficulty, demanded that a final album be made. By late Harmonia had begun to factionalise, Rother preferring a more guitar driven sound and extensive touring, whilst Moebius and Roedelius favoured the electronic sound that characterised Cluster, and resented Rother's attempts to transform Harmonia from an art-orientated to a pop-orientated ensemble.

Consequently, Rother was well placed to return to Düsseldorf in late , to perform with the three members of La Düsseldorf in concert as Neu!. A live version of Hero was recorded for television, and is widely available on the internet.

The performance highlights the disparity and enmity between Dinger and Rother, with Dinger playing guitar at the front of the stage, theatrically singing his lyrics, and Rother sat behind the stage machines, quietly providing the track's lead guitar parts. The recording of Neu! Dinger recognised this duality, admitting that "me and Michael drift[ed] apart," but Rother maintains that "it was the combination of our two strengths which made the magic.

The soft-loud dynamic of the album's two sides have directly influenced many artists since, most notably David Bowie , who used the inverse of that format on his albums Low and "Heroes". Hero display's Dinger's anger at her loss, "fuck off back to Norway" , and at the music industry following the failure of Dingerland , whilst After Eight' s lyrics feature the repeated refrain " Help me through the night.

Immediately following the release of Neu! Rother returned to Forst to complete a second album with Harmonia, whilst Dinger continued to tour with La Düsseldorf. Having completed his contract with Brain , Dinger left the label and signed to Teldec , a major label in Germany at the time, which specialised in pop music, unlike the more eclectic Brain. Dinger would remain signed to Teldec until he was dramatically dropped in Dinger spent the summer of improving his guitar playing and writing lyrics, intending to turn La Düsseldorf into a viable pop group.

It was also in this period that Dinger began to use his signature Open-E tuning for the guitar, which would remain his tuning of favour for the rest of his career. Dinger's guitar playing, at first criticised as amateurish, developed in time to be as simplistic yet rhythmically advanced as his drumming, and Dinger never played a full drum kit on record again until 's Year of the Tiger.

In September , La Düsseldorf entered the studio to begin recording their debut album , retaining Conny Plank as producer and featuring the same line-up as played on Neu! The album took the longest to record of any Dinger album yet made, sessions lasting until December , and this is reflected in a higher quality of production, with multiple overdubs of guitar, organ and synthesiser created. The music featured on La Düsseldorf is far more commercial than the La Düsseldorf tracks that had appeared on Neu!

Whilst the latter can be described as proto-punk , tracks like Düsseldorf and Silver Cloud lean further towards the sound of post-punk and is greatly influenced by Kraftwerk 's album Autobahn which had achieved commercial success worldwide in Like Autobahn , the album was very successful in Germany, but was unfortunately not marketed abroad.

La Düsseldorf ' s lead single — Silver Cloud — reached number 2 on the German hit parade on its release in early , an achievement all the more striking given that the song was instrumental. The album itself was released by Teldec in the summer of , with all tracks written by Dinger. The personnel listing also featured a "Nicolas van Rhein" on keyboards, a pseudonym that Dinger would continue to use sometimes insincerely for the rest of his career, although more commonly spelled using the Dutch version "Niklaus van Rheijn" after Dinger's relocation to The Netherlands.

La Düsseldorf' s success turned the band members into celebrities with the band "logo sprayed all over Düsseldorf streets" by fans, and Thomas becoming "one of the most glamorous people in Düsseldorf. We were very conscious of [fashion]. The look with the white overalls was an idea that I came up with for NEU! The others were a bit hesitant at first but we ended up using it as a uniform in La Düsseldorf. It clicked, it functioned.

I realized at a very early stage in my life that I would never be able to afford expensive clothes so I had to create my own style. Besides, I never liked the idea that you could just buy "good taste".

I had the same attitude to clothes as to [record] sleeves. They had to be based on cheap things, everyday things. La Düsseldorf also maintained a feeling of unity and coherence as a band which had been visibly lacking in Neu!: The commercial success of their debut album made the band wealthy enough for to be able to create their own studio in Düsseldorf, and from the band dispensed with Conny Plank, preferring to produce their own material, Hans being a trained studio engineer.

Their new facilities were soon put to use, as the band began to record a follow up to La Düsseldorf. The album Viva took shape over a period of a year and a half, studio time no longer being an issue for the band. The album is markedly more commercial than its predecessor, and was specifically aimed at foreign markets—especially Britain and America —, most of the lyrics being in English although French, Italian and German lyrics also featured.

However, the international success Teldec anticipated never materialised, as the label's foreign distributor went bust just before Viva' s release.

As a result, the promised release of both Viva and La Düsseldorf abroad only occurred in the UK where the debut was released by Decca and its follow-up by Radar , and some foreign fans who had pre-ordered the albums were left un-refunded. Viva sold well within Germany however over , copies , and is considered by some to be La Düsseldorf's finest album. It was preceded by the release of the single Rheinita , which although reached only number 3 on the hit parade, far outsold its predecessor Silver Cloud.

The single was voted "track of the year" by several German radio stations, and stayed at number one on some unofficial charts for over a year. Like Silver Cloud , it was an instrumental, dominated by rhapsodic melodies played in diatonic thirds, which would become a familiar mode in Dinger's music from then on.

The track's title alluded to Dinger's two great loves: The great commercial success of both the album and the single prompted La Düsseldorf to perform in concert, something which they had avoided up until then due to their music's heavily overdubbed nature and the fact that Klaus played all instruments except drums, making concerts a practical impossibility. Nevertheless, they made several TV appearances in which they mimed their performances.

A recording of their "performance" of Rheinita at a free concert in Düsseldorf in is widely available on the internet. Viva also saw the first release of a song which would become a concert and studio staple for Dinger over the years: The central section of the song features a lengthy piano solo by Andreas Schell ; a new recruit to the band. Despite appearing on Viva far less than Harald Konietzko, Schell seems to have been adopted as the band's fourth member, appearing in publicity shoots and many of the polariods that make up the Viva gatefold photo-montage.

In the "maxi-single" version of Rheinita was released, attracting the attention of EMI , who made the group a 1 million mark offer, which they subsequently refused. The increasing wealth the band was generating began to cause tensions amongst the band members:.

The problem was "too much, too fast". Big money was coming in and we had no one to advise us on how to handle it. How to handle big money had never been a problem in our family. The recording sessions for a follow up to Viva: Individuellos , were soured by arguments, and the band's popularity decreased in the wake of the Neue Deutsche Welle phenomenon, with bands such as Einstürzende Neubauten creating music that was drastically at odds with that of La Düsseldorf although other bands such as Rheingold actively imitated La Düsseldorf's style.

These issues were compacted by the suicide of Andreas Schell who was due to feature more prominently on the album in , midway through the sessions.

Schell's loss was heavily mourned, and the sleeve of Individuellos features a tribute to him. The album was never completed, partly as a consequence of Schell's death, and is far less professionally made as a result. The latter two tracks are abstract tape collages, and given that much of the album's second side was given over to overtly humorous and playful faux-oompah pieces, the content of Individuellos is often seen as slim.

Despite this, the album has recently become critically popular, with Stephen Thrower commenting that: Released in December , the album sold poorly, and the single "Dampfriemen" failed to chart.

The album was the first La Düsseldorf album to feature songs credited to others than Klaus Dinger, with the jam "Das Yvönchen" credited equally to the Dinger brothers, Lampe and Schell and Thomas Dinger receiving a co-credit with Klaus on "Dampfriemen" and a solo credit on "Tintarella Di The degree to which the other band members contributed to La Düsseldorf's output during the band's existence led Klaus to court several times in the s.

The production of Individuellos was immediately followed by that of a Thomas Dinger solo album: Stylistically similar to the Thomas Dinger-written tracks on Individuellos , it exhibits the electronic sound the band would adopt more and more in their final years.

In the Dinger brothers moved their studio from Düsseldorf to Zeeland , on the Dutch coast. Their parents, Heinz and Renate, kept a holiday home just outside the village of Kamperland , and the adjoining barn was converted into a studio. Dinger would keep a studio there for the rest of his life, first christening it Langeweg Studios after the road on which it sat, and then Zeeland Studios , which it was most commonly known as from the s onwards.

With the studio being built and preparations being made for a fourth La Düsseldorf album which had been announced the previous year, in accordance with a renewal of the band's contract with Teldec Hans Lampe began to take part less and less in sessions. Like the recording of Individuellos , the period was marked by arguments between band members, and by the time of the band's next record, Hans Lampe had left the group.

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Whilst Rother was at Forst, the Dinger brothers returned from London. Bundesliga channel on Youtube.

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