Concert with East Punk bands in Berlin: a beer shower for a disco ball

East-pop bands from Betonromantik to L’Attentat celebrated the re-edition of their GDR music two years later in Berlin. How was it?

The L’Attentat team, here in 2014 at a home game at UT Connewitz in Leipzig Photo: Jan Rillich

Prize question for another punk rock counter: Verse and chorus “We live in houses, towns and villages / We are not satisfied with our world / March to work, toil and toil / Save and save, we need money / And we build houses of pink concrete “Where do they come from?

On Saturday, just before sunset, people look at each other in Kreuzberg’s Lido and, knowing full well that they have just heard a song from several decades ago, express the thought: poems may come from today. In fact, it is a song from 1983 that has now been subtly but aptly updated: “Rosa Beton” by the band of the same name, which opened an evening of East German punk rock in Lido.

Two releases want to celebrate in Lido: There is a compilation “Too Much Future – Punkrock GDR 1980-1989”, which we already talked about in taz. The triple LP box sold out at short notice in 2020 and was re-released. Their adoption had to be postponed several times due to the pandemic.

“Too Much Future – Punkrock NRD 1980-1989” (Edition Radio / Wytwórnia Iron Curtain)

Concrete pink: “Demo 83” (wallpaper / recording + playback)

Anyone who has been waiting to read a long book by the Berlin box publisher Henryk Gericky, illustrated with contemporary photos, has done well and knows that we are dealing with bands whose members are involved with “one leg, two legs or the whole body” were in prison. The recipe of Bernd Stracke, vocalist of L’Attentat from Leipzig, will end the evening. Stracke knows what he is talking about and is not alone.

The second release is a tape album (then vinyl) by Rosa Beton: On side A you can find the recordings that the original duo Thomas Wagner and Ronald “Mausi” Mausolf made in a children’s room in Hönow near Berlin. Music circulated without being commercially available.

Live performances were unthinkable, a fate announced by the state that affected not only Rosa Beton. The B side of the tape features new recordings of their songs from 2022. They’re fast, neat Wavepunk with a bold eighties sound aesthetic.

Confident on stage

The first surprise of the evening are the key loops and songs from Wagner’s later projects Herr Blum and Tom Terror und das Beil. Incidentally, Rosa Beton’s live presentation, which has since become a quartet, is damn sovereign: when a specially purchased electronic drum kit dies on stage, the drummer switches to a rock kit at the back of the stage.

Technical disasters also in the next band: the set barely started when the guitarist of the Berlin quartet Betonromantik broke a string. We’re at a punk concert. He walks with his unbridled gait.

At this point, a research contract is advertised to investigate how often the word “concrete” occurs in dirty music – and in what combinations. Concrete Romanticism is completely different from its predecessors: brutal romantics around vocalist and builder Mike Göde play powerful hardcore punk. A shiny disco ball watches over it. He would get a beer shower or two during the evening. The indoor climate of the Lido, a cinema frequented by East Berlin cinema fans until the wall was built and then the Schaubühne rehearsal room, has long been reminiscent of July.

The third and fourth bands of the evening are shared by the same bassist: this is Maik Reichenbach, the Leipzig publisher of the Too Much Future box. He plays for Planlos, who recently made it clear in the documentary “Auswartspiel: Die Toten Hosen in Ost-Berlin” that the Düsseldorf band did not have to bring punk to the GDR capital for an illegal concert in 1982. The Savior Church in Lichtenberg. Planlos performances have been few and far between decades.

“See you in 2042,” says singer Michael “Pankow” Boehlke. It may be earlier. For L’Attentat, Lido’s show will be the last show in Berlin. They compete with guest vocalist Andrea Hüber-Rhone from the band Die Frechheit. The name can be programmatically visible. Finally, a commitment to anarchy: if you want to know why, there’s a message. And if you can’t do that anymore, take a look around the street.

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