Jason Matthew Thirsk, this one’s for you.

Or, rather, because of you, you old, dead bastard. Rest in peace.

I recently listened to Bro Hymn again. And Bro Hymn… Bro Hymn was the song to one of the most magical nights in my early 20s.

So, first, listen to the song.

The lyrics are simple, but to the point. And I fully agree with them. Well, not… Fully. It should be a “Sis Hymn” for me. So I simply declare all my close and wonderful female friends to be honorary Bro’s! Mr. Stinson will oversee the ceremony. And I’ll have to make sure to keep him away from all of you afterwards. … You all rock. :)

“When you’re feeling too close to the bottom
You know who it is you can count on
Someone will pick you up again
We can conquer anything together
All of us are bonded forever
If I die you die that’s the way it is”

This is me. To you. As it always was.
And as I could always count on you.
Thank you.
And to another ten years.


This one night.

2002 or 2003 or even 2004. I know I was single then.
A Thursday.
It was a punk/hardcore night at the Saint, my favourite club.

I was there with some friends from school. Again, all female, as my male friends at that time were kinda… Introvert.
It weren’t even close friends. But they sure as hell knew how to party.

There was also… This other girl. Woman.
About as small as I am. But fitter. And hugely more attractive. Dreadlocks, long and blonde. A grin to die for. Khaki cargo-trousers. Multi-coloured shirt. White scarf. Black Boots. And moves… By the stars… She could move.

As the night went on, we came closer in the mosh-pit. We threw ourselves against each other. And shielded us from others. We danced closely. We hugged. We kissed. We shared a drink or two. We moshed and danced some more, with all the energy someone has at that age. … And we didn’t share a single word. We didn’t speak. We just… Watched. Moved. Danced. Smiled. Grinned. Bowed. Thrust. Pulled. Bit. Scratched. Pushed. Moshed.

And it was a magical night.

When it was time to go, she pulled me to herself and gave me a long, warm kiss. I responded in kind. We hugged. Smiled. Bowed. And never saw each other again.

I came away with multiple scratches, uncountable bruises and a bit, bloody lip.
And until those went away, I treasured their pain. This pain was a reminder of this night. All that bonded me with this woman. This… Magical creature of the night.

And they faded. Some quickly. Some slowly. But they faded.
And in the end… It was just memories.
And it’s now ten years later, and the memory remains.
The memory of connection, of closeness, of a shared moment.

It’s a blessing and a curse.
A blessing, because it was simply one of the brightest moments in my life.
A curse, because it’s damn hard to NOT compare any other moments to this one. Also… The identity of this mystery woman is something that won’t let go of me. I wonder… Always wonder.

With this, though…
Remember your magical moments.
Your dream nights.
Your magnificent days.

And smile. :)

Awesome What-The-Fuckery

I’m just watching a new and current Beavis and Butt-Head Episode.

It’s weird.
And awesome.
And funny.
And awesome.
And stupid.
But still awesome!


Might this be a sign that MTV wants to get back to show some non-cheap-mainstream music again?
Or, well, any kind of music again?

But, Beavis and Butt-Head! Yeah!

Let’s touch this!

MC Hammer – U Can’t Touch This [Please Hammer, Don’t Hurt ‘Em!] | 1990 | Hip-Hop

[expand title=”Lyrics”]U can’t touch this
U can’t touch this
U can’t touch this (oh-oh-oh-oh-oh-oh-oh)
U can’t touch this (oh-oh-oh-oh-oh-oh-oh)
U can’t touch this

My, my, my, my music hits me so hard
Makes me say oh my Lord
Thank you for blessing me
With a mind to rhyme and two hyped feet
Feels good when you know you’re down
A super dope homeboy from the Oaktown
And I’m known as such
And this is a beat uh u can’t touch

I told you homeboy, u can’t touch this
Yeah that’s how we’re livin’ and you know, u can’t touch this
Look in my eyes man, u can’t touch this
You know let me bust the funky lyrics, u can’t touch this

Fresh new kicks and pants
You got it like that now you know you wanna dance
So move out of your seat
And get a fly girl and catch this beat
While it’s rollin’ hold on
Pump a little bit and let me know it’s going on
Like that, like that
Cold on a mission so fall on back
Let ’em know that you’re too much
And this is a beat uh u can’t touch

Yo I told you, u can’t touch this
Why you standing there man, u can’t touch this
Yo sound the bell school is in sucker, u can’t touch this

Give me a song or rhythm
Making ’em sweat that’s what I’m giving ’em
Now they know
You talk about the Hammer when you’re talking ‘bout a show
That’s hyped and tight
Singers are sweatin’ so pass them a wipe
Or a tape to learn
What it’s gonna take in the 90’s to burn
The charts legit
Either work hard or you might as well quit

That’s word because you know
U can’t touch this (oh-oh-oh-oh-oh-oh-oh)
U can’t touch this (oh-oh-oh-oh-oh-oh-oh)
Break it down!
Stop! Hammer time!

Go with the flow it is said
If you can’t move to this then you probably are dead
So wave your hands in the air
Bust a few moves run your fingers through your hair
This is it for a winner
Dance to this and you’re gonna get thinner
Now move slide your rump
Just for a minute let’s all do the bump

Bump bump bump yeah, u can’t touch this
Look man, u can’t touch this
You’ll probably get hyped boy ’cause you know you can’t, u can’t touch this
Ring the bell school’s back in, break it down!
Stop! Hammer time!
(Oh-oh oh-oh-oh-oh-oh)
(Oh-oh-oh-oh-oh-oh-oh) u can’t touch this
(Oh-oh-oh-oh-oh-oh-oh) u can’t touch this
(Oh-oh-oh-oh-oh-oh-oh) u can’t touch this
(Oh-oh-oh-oh-oh-oh-oh) break it down!
Stop! Hammer time!

Every time you see me, that Hammer’s just so hype
I’m dope on the floor and I’m magic on the mic
Now why would I ever stop doing this
With others makin’ records that just don’t hit
I toured around the world from London to The Bay
It’s Hammer go Hammer MC Hammer Yo Hammer and the rest can go and play

U can’t touch this (oh-oh-oh-oh-oh-oh-oh)
U can’t touch this (oh-oh-oh-oh-oh-oh-oh)
U can’t touch this (oh-oh-oh-oh-oh-oh-oh-oh-oh-oh-oh)
Yeah, u can’t touch this
I told you, u can’t touch this (Oh-oh-oh-oh-oh-oh-oh-oh-oh-oh-oh)
Too hype can’t touch this
Get me outta here, u can’t touch this

I went there.

It’s mixing 80s and 90s influences and simple, pure gonzoness of both eras (Or, rather, you can see the change from 80s to 90s through the video).

Also, Hammer-pants!

Also, Also! This is one of those songs that influenced pop-culture of the next 21 years to come. It’s still going strong. You can still look at a random stranger, point at them and shout: “Stop! Hammertime!” and chances are very good that they’ll respond with “Can’t Touch This!”, and then you’ll both beat-box Rick James’ “Superfreak” beats.

It also (I really didn’t want to put three also’s after each other) won the first Grammy for “Best Rap Solo Performance” in 1991, which didn’t even EXIST before that.

It’s also a wonderful song to start a week.

And, again, I’ve broken with my general “No 1990/1999 Songs” policy.
And then I though to myself: “Eh! Fuck it.” I managed over 30 days worth of 90s only content and now I really like and look forward to writing a post daily. Sooo… Today I announce that I’m extending the focus of this feature to “A Song A Day, Every Year’s Welcome!”. Because, frankly, I was feeling somewhat stifled as I want to go back to the 80s and 70s and peek into the 00s to showcase songs that were (and still are) important to myself and my development as a person.

So, from tomorrow onwards, you can look forward to a much broader selection of songs. I WILL continue to showcase 90s songs and their importance on shaping the cultural, pop-cultural and sub-cultural zeitgeist of the 1990s, but I will also delve much deeper into how certain songs, genres and artists have shaped me, personally, independent from any time-constraints.

Until then… Enjoy some vintage Hammer action!
It’s bound to raise your spirits.

Let’s make this a quick one because of goddamn Vodafone.

They killed three tries to post something, corrupted them before wordpress could back them up.
I’m not happy.

Until they manage to get their act in order (there will be angry telephone calls tomorrow), I’ll post short posts and try to retain my thoughts offline to add later.

Today should have been about German Medieval Rock music. In Extremo, Corvus Corax and Svbway to Sally, to be exact. As they were instrumental in making this sub-genre explode in the 2000’s.
It was barely visible style even in the “related” sub-cultural fields during the 1990s. It was there, there were influential bands since the 1960s(!), yes! I know. But look at 2001-2005. Look at Faun, Omnia, Tanzwut, Schandmaul, Helium Vola and the explosion of the popularity of Medieval Rock/Medieval Metal in goth (and even some mainstream) clubs during those times. The three bands I mentioned made that possible in Germany. Especially during the late-90s, the all released highly influential and still highly-acclaimed albums (STS: “Foppt den Dämon”, IEX: “Verehrt und Angespien”, CC: “Viator”).

And to be honest… I don’t know what brought this change. Although I kinda think that the Lord Of The Rings starting to come out in 2001 helped, too. (I remember quite a few people running around in “Elfen haben doofe Ohren!” and “Legolas” T-Shirts while out clubbing from 2001 onward.)

Enjoy something from In Extremo, until I get Vodafone/Arcor to get their shit together.

It’s called “Galgen”, and is a German hard-rocking cover of a song that was already covered during the glorious 60s/70s (1970) by Led Zeppelin, then called “Gallows Pole” and found on their album “III”.

Later, folks!

Let’s smash on some steel-drums.

It’s time to go German and Industrial and early 90s.
While I’m not generally a fan of mainstream German music, I mostly really like non-mainstream German music. Perhaps because they often seem to share my tastes in OTHER music and so produce stuff that I really love to listen to (And One, Deine Lakaien, Die Krupps, Corvus Corax, In Extremo, Svbway to Sally, Blind Guardian, Sodom… The list goes on and on and on!).

Today it’s about Die Krupps and their wonderful album “Die Krupps II: The Final Option”. An eleven track album of which I utterly love six tracks and find the remaining five actively positive. That doesn’t happen often. There are Depeche Mode albums with worse track records!

But first, get a load of this.

Die Krupps – To The Hilt [Die Krupps II: The Final Options] | 1993 | Industrial Metal (Which is weird, as it sounds more like rock to my ears…)

[expand title=”Lyrics”]woke up – still in a dream
nothing’s the same
con’t pronounce my name
i open my mouth
words come out
that make no sense
for a stranger’s ear
in a foreign language
in a foreign land
now i’m a alien
on a different planet
it makes it clear – i understand
we are all strangers – in a foreign land

burn the bridges
forge ahead
to the hilt

back home i feel insane
nothing’s the same
except for my name
i open my mouth
words come out
that makes no sense
for my lover’s ear
in my native language
in my native land
i’m still the alien
on a different planet
it make it clear – i understand
i am a stranger – in my own land

burn the bridges
forge ahead
to the hilt [/expand]

This song… Is filled with memories for me. One of my favourite songs out there, still.
When I listened to it just now, I immediately smelled Patchouli and thought of Mead and great company. Why, I’ll tell you later.

I love how the guitar riffs play with the industrial drums and the tribal melodic insertions. (As well as the Captain Future sound sample.)
I also like the lyrics. The whole album was filled with ideas that formed, I think. Highly critical of Germany’s history and (then) current socio-political situation. Die Krupps are a dedicated anti-Nazi/anti-right-wing act and used their music as an outlet for this nearly from the start. They took their name to snub the industrialists we all love so much and they sung in German and English about issues that certain right-wing elements considered (and perhaps still consider) important back then (Listen to “Fatherland” or the even earlier, 80s based, “Wahre Arbeit, Wahrer Lohn”. Or, hell, “Germaniac”!).

They took it seriously, and they still do. And for that, I love them.

And this song, coupled with this video, is both a message as well as a testament to the 90s. German alternative bands in the early 90s had a certain style to their music-videos that was… No, not unique. That’s the wrong word. But look at early H-Blocks (“Risin’ High”) videos. The very first Guano Apes (“Open Your Eyes”) videos. And then watch “Here Comes The Pain” by the Farmer Boys, which is a spiritual descendant of those artists and their “style”. It was telling a story, mostly told by someone high on acid, while still keeping the band in-view and use grungy (visually, not musically!) effects to stylize the video itself. Contrast this with something like Lenny Krevitz’s “Are You Gonna Go My Way” video I posted earlier. For some reason, there are a few Britpop videos that match this German-Alternative style quite well, though.

Anyway, I’m rambling! Point being: The band AND this song are an integral part of the German 90s Goth (used as a greater umbrella term this time) scene. Politically aware, mixing influences, not edgy just to be edgy and with weird-ass music videos. (Remember those days? When non RnB/Rap acts made music videos? And they were big hits? And you could actually watch them on TV? Yeah, I miss those too…)

And this song…
It was one of the songs that a place that was very special to me played very often during the nights I was there. A bar called “Die Taverne”. At that bar I had it all… Gothic night, Industrial night, Metal Fridays Vampire LARP, Medieval weekends with authentic cooking all in a very fitting atmosphere. I spend quite a few nights there. Talking with friends, having fun, being in the LARP and pissing off the Primogen and Prince. Also… With two very special friends of mine, at different times. Both ladies that I could introduce to this bar and make them love it. We’d just sit at our table (I knew the owner and actually really had something to call “My Table”… I miss that, too!), sip mead (or coke when we had to drive) and talk. Sometimes for hours on end. Just… Sitting there. Enjoying the atmosphere. Meeting friends who’d drift off to other tables and drift back in different mixes, eating weird, wonderful snacks, drinking really good drinks and talk. There are some very special Christmas 2002 and Autumn 2003 memories for me at that bar. Memories I’d actually call “magical”. Simply because atmosphere and company fit so very well together and helped me with, then, serious issues.

So, tonight I raise a glass of my best mead to that bar, that times, that music and those people.

Let’s Hurry.

Today, I don’t have much time. Like, I’m already too late to be honest.

So, I’m going to let you listen to one of my favourite pump-up songs, which also debuted in the 90s, when I was busy not doing assigned homework.

[expand title=”Lyrics”]I got my head checked
By a jumbo jet
It wasn’t easy but nothing is

When I feel heavy metal
And I’m pins and I’m needles
Well I lie and I’m easy
All of the time I am never sure
Why I need you
Pleased to meet you

I got my head done
When I was young
It’s not my problem
Just not my problem

When I feel heavy metal
And I’m pins and I’m needles
Well, I lie and I’m easy
All the time and I’m never sure
Why I need you
Pleased to meet you

Yeah, yeah Yeah, yeah Yeah, yeah Oh, yeah[/expand]

Blur – Song 2 [Blur] | 1997 | Lo-Fi/Alternative Rock

What’s much to say? It was the second song on the album.
It kicked ass. It still does. In two minutes they manage to get you absolutely pumped and ready to smash things and just have fun.

Not many songs manage this. Actually, one of the others I know that does this for me, does so in over six minutes.

So, not only is Song 2 a kick-ass song, it’s also highly economical!
After listening to it, you can still put another song to channel your righteous powers of ass-kickitude to specific goals.

Put some fast Bauhaus after it to party out Batcave style.
Give it some smashin’ Aerosmith to party rock style.
Follow it by some heavy Pantera riffs to throw you heavy metal jacket it.

Or just let it play again and drive over red lights at too high a speed!

Simply have fun. Be pumped. :)

Note: Please don’t drive over red lights at too high a speed.
Or if you do, don’t tell the cops I told you to.
Thank you!

Let’s Mode.

Depeche Mode, that is.

Their first non 80s-rooted album was “Songs of Faith and Devotion”. And it’s problem is that it’s DM’S Poland.
Wait. You might need some background on that. There’s this old Polish joke (and one liked by historians world-wide, too), about the Christian god really hating Poland, seating them between Germany and Russia. And should you look into Polands wild and violent history, you will quickly understand that, should there be any kind of god/s? Yeah, they’re playing a damn cruel joke on Poland.

So did Depeche Mode on “Songs of Faith and Devotion”, releasing it between “Violator” and “Ultra”. It… Kinda gets lost easily, even though it spots some killer tracks on its own! Some that are often overlooked. Or, well, simply not played as vividly as “Personal Jesus” and “Barrel of a Gun” and “It’s No Good” and “World in My Eyes” and “Enjoy the Silence” and “Policy of Truth” and… … Well, you get the idea, right?

So, today I’m giving you “Walking in My Shoes”. A deeply sombre track about a sinner trying to explain himself to a captive audience. It’s slow and pondering yet still powerful and gripping.

Another one of my favourite autumn tracks. This time one I love to listen to when I drive to club to dance the night away. And sometimes even when I drive back, with a wistful smile and memories of a great and adventurous night fresh in my mind.


Depeche Mode – Walking in My Shoes [Songs of Faith and Devotion] | 1993 | New Wave -> Synthpop

[expand title=”Lyrics”]I would tell you about the things
They put me through
The pain I’ve been subjected to
But the Lord himself would blush
The countless feasts laid at my feet
Forbidden fruits for me to eat
But I think your pulse would start to rush

Now I’m not looking for absolution
Forgiveness for the things I do
But before you come to any conclusions
Try walking in my shoes
Try walking in my shoes

You’ll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
If you try walking in my shoes

Morality would frown upon
Decency look down upon
The scapegoat fate’s made of me
But I promise now, my judge and jurors
My intentions couldn’t have been purer
My case is easy to see

I’m not looking for a clearer conscience
Peace of mind after what I’ve been through
And before we talk of any repentance
Try walking in my shoes
Try walking in my shoes

You’ll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
If you try walking in my shoes
Try walking in my shoes

Now I’m not looking for absolution
Forgiveness for the things I do
But before you come to any conclusions
Try walking in my shoes
Try walking in my shoes

You’ll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes

You’ll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
Try walking in my shoes
If you try walking in my shoes
Try walking in my shoes[/expand]