by Brezel Göring
After we recorded the CD Monokini in a huge studio, which made a big difference to the low fi-sounds of the first record, we decided to try something else. We were thinking of a record that sounds like an accident, a malfunction of a jukebox, after you put money in: a Jukebox Alarm. All the records in the machine play at the same time and you hear crazy sounds. Crazy music with garage sound.
Another decision came out of the success that the song “Schön von hinten” of Monokini had. We didn’t want to be reduced to this kind of melodic songs with funny German lyrics and word-games, even if we like it a lot to do this kind of songs. So the plan was to avoid this side of our widespread stylistic oeuvre on this record.
We went to Hamburg, to the Alien Sound Studio of Peter Stein, where we recorded the first album, and prepared the basic-tracks. Back in Berlin Brezel cutted them up with a sampler. Then we went to the Atatak Studio in Düsseldorf, where Kurt Dahlke (from “Der Plan”) mixed the record.
Iznogood had left the band to live in the USA, and San Reimo came in. He played a little portable keyboard. Françoise Cactus played drums, rhythm-machine, guitar and did the singing, Brezel Göring played guitar and all kinds of synthesizers and samplers and Angie Reed played bass.
“Holiday Innn” is a song about a girl bringing a boy to a hotel-room, to show him something that he never saw before and that he will never forget: it’s a particularity, a little bit strange, but really funny. This was the first song Françoise ever wrote in English language. It features garage-fuzz-sampling in low and high fidelity.
“ComicStripteaseGirl” consists of all kinds of noises that the girl in the comic-strip is teasing: breaking glass, buzzing, whistling and an extreme high voice.
The song “Hush Hush Sweet Charlotte” is about Charlotte Gainsbourg. She has beautiful legs but a nose like a cucumber: How beautiful you have become! The music is a beat-box waver with a quick end after a short intense wiggle.
“Touche moi”: “Touch me”: There are no further explanations needed with a song-title like this. It is a heart touching mess of orchestra-samples, synthesizer-effects and soft, floating moods. It sounds like if somebody is trying to do a cover-version of Pierre Henry’s Psyche Rock and a Slow of Serge Gainsbourg at the same time.
PARIS/ FRANCE/ CRAZY: The song “Crazy Horse”(in Paris/ France) is about a friend of Françoise who looks like a horse: with big teeth, long hair, the eyes looking to the side … He takes her out every night to a place called Crazy Horse, to dance all night.
Whap Doo Whap “Supercool”: the song was originally played by the Belgian plastic-punk Plastik Bertrand: It is fun to have fun in crazyness, the radio is sticking on my ear and I am exploding – Whap Doo Whap Supercool! Our system of recording, cutting in the sampler and replay everything in the next studio worked very well on this song: bizarre skips in the rhythm, unexpected deepness in the sound-effects and marrakas that are uncontrollably torturing your nerves, a garage-trash-shouter for loosing it all. One of our favorite tracks.
We’re looking in the mirror and smile at our picture, we look super to go out together and everybody will shout: long live the cats! This song was composed by Françoise, she played the guitar and Brezel made the echo-percussion in the back. It is all about being beautiful and feeling good about it.
“Oh Yeah” is a fast instrumental-Rock’a'Billy-airplane-taking-off-jetter. The organ melody of San Reimo made it an absolute classic. Looking at the world through a high pitched tape-delay.
This is the section of horror movies: “Film d’horreur” is sung by a girl who likes scary movies: If you want to make me happy, bring me to a horror movie. The song was written by the French singer Stella Vander. Her version is already super, we couldn’t make it better, but we made it more minimalist: hand-played synthesizers add to the scary theme a disturbing shakyness.
The other song about movies is “Vertigo”, a song that we wrote after watching the film by Alfred Hitchcock. Our song is about suicide and the desire to practice it. Kurt Dahlke came up with the idea to let everything turn around: echoes are spinning constantly from left to right and Françoise was turning around in circles while singing. “Where does this desire come from? Just like this, without a reason. Just for fun.”
This is no more Hot Chocolate, this is cold ice, or better deep freeze chocolate. In this cover-version we skipped all the ambitious erotic elements and turned it into unemotional use of sexuality: “Let’s do it.” This song was a one-take-recording: we played it only once, San Reimo on keyboard-bass, Brezel on synthesizer and Françoise singing.
“Der Schlüssel”is a desorganized, messy 60ies rocker, absolute jukebox alarm. It was recorded in Albuquerque/ New Mexico. Iznogood plays the bass and C.J. from the band “The Drags” plays the guitar. The song is based on a song from the Canadian band “Les Lutins”.
New Wave, Neue Welle, “Nouvelle Vague”. The waver who composed this song is called Richard Anthony. A jazzy, existentialist beatnicker, for snipping the fingers while new waving.
“Party Anticonformiste” was the alternative name for the record: this is a name and an idea we can go absolutely conform with. It is a disco-pusher with an orchestral-drop-out into the reverb chamber.
“Holiday Out” is the electric-boogie version of “Holiday Innn”. We don’t want to make advertisement for the hotels named after our song: Fuck Holiday In, let’s go to Sheradon.
At the end of the record there is a hidden track: we couldn’t decide to put this song on the album. We only played it once in the rehearsal place, recorded it, but then we couldn’t remember how we were playing it. So we decided to let it slowly move from right to left: You can’ get more stereo than this.
The cover photo was made by Simgil and the booklet contains drawings from Françoise, Brezel and San Reimo.
The record was released in three different versions: a European on Bungalow, an American on Bobsled records and the Japanese edition on L’Appareil Photo.