Emotional was released in the U.S. the same year as his breakthrough album, Falco 3, which included the hit "Rock Me Amadeus." It is hard not to consider that this album (on Sire, not A&M, the home of his hit record) was rushed to market to capitalize on his one-hit wonder status. Standout tracks include the title track, "Crime Time," "The Kiss of Kathleen Turner," and a follow-up to the banned song "Jeanny" called "Coming Home (Jeanny Part II, One Year Later." "Cowboyz and Indianz'" contains some interesting Star Wars allusions. Not essential by any means, even for somewhat serious fans. However, a surprisingly solid new wave album that is quirky and fun. A great used-record find.

Sony in Germany are to issue Falco 60, a new best of/rarities collection across a number of formats, to celebrate what would have been the 60th birthday of Austrian singer-songwriter Falco, who scored a memorable transatlantic number one back in 1985 with Rock Me Amadeus.
Falco 60 is being issued as a three-CD deluxe set which includes the hits, rarities and four new remixes by contemporary Austrian artists such as Ogris Debris and Parvov Stelar.

Following collaborations with Paul Van Dyk and Schiller, Solo is the first full-length studio release from German singer/songwriter Peter Heppner since his acrimonious departure from influential synth pop outfit Wolfsheim. Produced by Peter-John Vettese (Annie Lennox) and Jose Alvarez-Brill (Kosheen), its ten English and German-language tracks include the single "Alleinesein."

"Sowas von egal" is a collaboration between the Hamburg record label Bureau B and the Hamburg party series Damaged Goods where they present rare, obscure synth & wave discs from the early 1980s which absolutely deserve to heard. It was clear from the outset that “Sowas von egal 2” would need to scale similar heights of excellence as its predecessor, featuring carefully selected, sought-after, danceable tunes.

In this concert/motion picture starring the New Romantic Pop stars, Doctor Duran (actor Milo O'Shea) the evil character in the cult film 'Barbarella' returns to earth, crash landing his time machine directly underneath a giant stadium in Oakland, California. He is bent upon doing battle with the five imposters above him (the band) who have stolen his name. The evil doctor sends out his henchmen to destroy them as they perform to a packed stadium. Duran Duran continues to perform throughout, as much chaos ensues around them. Duran Duran are captured at their musical best in Arena by award winning director, Russell Mulcahy, who was to hone his skills working on music promos through the 80's. Also includes the Making Of Arena documentary which opens the lid on the creative processes involved with making Arena.

Symphonia is a live album of the music project Schiller, created by the German electronic musician Christopher von Deylen. The album was released on October 17, 2014. The album is a live recording of the "Schiller meets Classic" open air concert with the Berlin Symphonic Pop Orchestra at the Classic Open Air 2014 event on the Gendarmenmarkt in Berlin. The orchestra consisted of 60 musicians. On this album Schiller has collaborated with the singers Midge Ure, Jaël Malli, Eva Mali and Der Graf from Unheilig. The album reached in its first week number 4 of the German albums chart.

When the Bureau B label contacted Karl Bartos and showed interest in releasing any archival material he might have laying around the lab, the former Kraftwerk member (that is, "classic lineup" member, joining for the Autobahn tour and leaving somewhere between Electric Cafe and The Mix) wasn't interested. After all, he's a never-look-back futurist, but as the liner notes to Off the Record explain, he's an open-minded futurist as well and allowed this initially rejected idea to morph into something new. Kicking off with "Atomium" - a grand bit of robot techno and possible sequel to Kraftwerk's "Radioactivity" - Off the Record uses Bartos' archival tapes, zip drives, or computer files from 1975 to 1993 as its foundation, then mashes these off-hours audio sketches (recorded "off the record" from his usual band) with new ideas, overdubs, and vocoder vocals…

Spunky wave pops from early ‘80s Germany, portraying the sound of the country’s first proper youth movement via bullets by Andreas Dorau, Conrad Schnitzler, Der Plan, Palais Schaumburg, Xao Seffcheque, Die Partei, Asmus Tietchens, Holger Hiller, Populäre Mechanik.

Hubert Kah is a German synthpop band, led by Hubert Kemmler. Kemmler is a German musician, composer, songwriter and producer.
Seelentaucher is their seventh studio album.
In 2005, Kemmler began his second comeback with the album Seelentaucher ("Soul Diver"). The album featured a mixture of English and German language tracks.

Goldene Zeiten is the third studio album by Hubert Kah.
Hubert Kah is a German synthpop band, led by Hubert Kemmler. Kemmler is a German musician, composer, songwriter and producer.

14. September 2021 - Als Falco im Frühjahr 1986 mit der Arbeit an seinem vierten Studioalbum »Emotional« begann, war er einer der wenigen international erfolgreichen Künstler, die in deutscher Sprache sangen. Mit »Rock Me Amadeus« aus seinem Vorgängeralbum »Falco 3« erreichte er im März 1986 Platz 1 der Billboard Hot 100 Charts und ist damit der einzige Künstler, der diesen historischen Gipfel in den USA mit einem deutschsprachigen Song erreicht. Zusammen mit seinem Superstar-Status in den deutschsprachigen Ländern und im größten Teil Europas zeigt dies, welche Bedeutung ein neues Falco-Album für die Musikwelt zu dieser Zeit hatte.

BEBORN BETON was a very productive band back in the 90’s. Within six or seven years they released five studio albums (plus best of, re-releases and remix albums) that gave the band a “cult” status. And suddenly after 1999’s ‘Fake’, they just disappeared. The band never split either but nothing came until the announcement, last year, of a new album. The band declared: “The best album we will probably ever make.” And it’s fair to say they largely succeeded in it. This album is clearly in the “De/Vision – Camouflage” zone: lot of mid tempo, dark and progressive songs, a massive production [the producer is no less than Olaf Wollschläger who worked with MESH and many more], with a sense of detail in every little sound or beat. A track like ‘Who Watches The Watchmen’ is a fair example of this “brotherhood” with the two other German Synth Pop giants.

By the time of Spice Crackers' 1995 release, Camouflage found themselves dealing not only with changing times on the part of their key inspirations – Depeche Mode having long since grappled with rock motifs on albums like Violator and Songs of Faith and Devotion – but with the shift from electronic pop being pop, to being a quieter concern amid the aboveground explosion of techno in Europe throughout that decade. Spice Crackers feels like a reaction to both changes in many ways, a chance for Camouflage to find their own identity as well as see how to roll with the times – and what's striking is how they predated some future developments elsewhere as a result. (It says something that the bass-heavy introduction "X-Ray" might have appeared on Depeche's Ultra, for instance, even though that album was two years away from release at that point.) There's a self-referentiality to the field that's almost amusing in its apparent po-facedness – calling one song "Kraft" and the one immediately after it "Electronic Music" is almost too much – but the exquisite instrumental "Ronda's Trigger," arguably the album's best song, celebrates things more effectively, a classic electronic dance number in the best way, propulsive and serene at the same time.

Die Mensch-Maschine is closer to the sound and style that would define early new wave electro-pop - less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, Trans-Europe Express, there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("Die Roboter," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neonlicht" and "Metropolis"). Plus, there's "Das Modell," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle…

Although Kraftwerk's first three albums were groundbreaking in their own right, Autobahn is where the group's hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing…