Das Ich

   
Artist: Das Ich

   Genre(s): 
Gothic
   Electronic
   Rock: Pop-Rock
   Ethnic
   Rock
   Metal: Gothic
   Industrial
   

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Discography:


   
 Cabaret

   Year: 2006   
Tracks: 10


   
 Lava (Glut)

   Year: 2004   
Tracks: 10


   
 Lava (Asche)

   Year: 2004   
Tracks: 10


   
 Lava

   Year: 2004   
Tracks: 8


   
 Anti'Christ

   Year: 2002   
Tracks: 10


   
 Kramm - Coeur

   Year: 2001   
Tracks: 11


   
 Remixed and Unreleased

   Year: 2000   
Tracks: 11


   
 Re-Kapitulation 89-99

   Year: 2000   
Tracks: 12


   
 Kramm - Blasses Kind

   Year: 2000   
Tracks: 4


   
 Re Laborat CD2 - Re Animat

   Year: 1999   
Tracks: 11


   
 Re Laborat CD1 - Re Laborat

   Year: 1999   
Tracks: 13


   
 Morgue

   Year: 1998   
Tracks: 14


   
 Egodram

   Year: 1998   
Tracks: 11


   
 Destillat

   Year: 1998   
Tracks: 4


   
 Das Innere Ich

   Year: 1996   
Tracks: 8


   
 Die Liebe (with Atrocity)

   Year: 1995   
Tracks: 9


   
 Staub

   Year: 1994   
Tracks: 8


   
 Stigma

   Year: 1993   
Tracks: 4


   
 Die Propheten

   Year: 1991   
Tracks: 8


   
 Satanische Verse

   Year: 1990   
Tracks: 7

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With the Germanic vocals of Stefan Ackermann set to the electronic sounds of Bruno Kramm and Daniel Galda, Das Ich continues to reach out to an ever-growing audience with a divers range of atmospheric textures. Their record album, Die Propheten, which sold more than xXX g copies when number one released in Germany in 1981, was reissued in the United States in January 1997.


Since the mid-1990s, Das Ich has increasingly focussed on building a following in North America. They toured the United States in 1996 and 1997. The mathematical group switched to a more danceable, up-tempo, style with their spring 1997 album, Egodram. Their music provided the soundtrack of the Hans Helmut Haessler-directed and produced flick, Coney Ewige Light.


Das Ich brings together three musicians with very different roots. While Ackermann was born in Berlin, keyboardist Galda hails from East Germany. Electronics star Kramm, wHO was natural in Munich, formed his first electronic group, Fahrenheit 451 in 1986. In addition to composition the trio's material, Kramm programs the synthesizers and samples and mixes the group's albums.

Angelina Jolie - Pitt Turned To Charity After Meeting Jolie

ANGELINA JOLIE has confessed her partner BRAD PITT only began humanitarian work after they got together.

The couple - who met on the set of 2005 movie Mr + Mrs Smith - set up the Jolie Pitt Foundation in 2006.

But Jolie admits Pitt did not start charity campaigning until after he met her.

She tells the July edition of Vanity Fair, "Brad's passion for international affairs was actually one of the things that brought us together. Though he wasn't as publicly active, I found him to be very aware of the world, very curious, very compassionate.

"In his private way, he had been doing a lot. When we met, we realised our common goals were that we both wanted to be involved in the world and see what we could do.

"When it comes to common goals - orphans, orphans' rights, children - we support each other. It brings us together and makes our relationship work."

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Silver jews, Lookout Mountain Lookout Sea

The Silver Jews' sixth album cover - wherein three stuffed Babar toys climb onto a rocky outcrop - mysteriously and trickily relates to the record's tales of virtue gone to seed. But in 2008 what are the odds of ever seeing it? Since the likelihood is that most will simply download the best tracks for their mobiles, it's best to forgo theoretical discussion about the gap between speech and song, in favour of an appreciation of the album's country-rock attack, ethereal choruses and mosaic burr. Yes David Berman (along with wife Cassie) is back with yet another line-up in his journey along a road that's long since ceased to be incorrectly termed 'Pavement offshoot'.

Actually, Look Out Mountain, Look Out Sea is too varied an album to be called country, or rock, let alone country-rock. On the opener What Is Not But Could Be If, head songwriter Berman comes across like a latter-day psychedelicized Johnny Cash, throwing thoughts like tomahawks and quoting Yiddish wisdom. This urgent, apocalyptic mood continues on the shimmering alt-pop slabs of Suffering Jukebox and My Pillow Is A Threshold. But the album's brilliance lies in its mix of approaches. There are the disturbing and arresting visions of Strange Victory, Strange Defeat and San Francisco B.C. (a distant relation of Dylan's 115th Dream); the marimba delirium of Candy Jail and the ship's horn and seagulls blasting on Party Barge. In addition, the naive chiming rendition of Japanese composer Maher Shalal Hash Baz’s Open Field offer a perspective upon Berman’s last-chance Texaco of lowlife insanity and romantic longing.

The man's final triumph here lies in his lyrical vision, which goes beyond merely skewering a world of craven mediocrity to suggest better possibilities, where the end might just be another beginning. But rather than expound further on the Silver Jews' new sympathy for unloved machine humanity, perhaps it's enough to say that this is the best album to come out of Tennessee this year; indeed possibly the world. It even has a chord chart. So you really should get your own copy.

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Pop diva Cyndi Lauper 'True' to form

Lovably odd pop siren Cyndi Lauper seems determined to make her True Colors tour an annual recurrence - not a bad idea. Now in its second year, the Human Rights Campaign-sponsored event offers quality entertainment with a queer twist; nothing else quite like it exists in the summer shed lineup.
The slightly under-attended opening night of the tour at the Bank of America Pavilion Saturday was harmless fun. But the gig’s overall rhythm could use some work: less between-set blather from a comically challenged MC and a different strategy for sequencing the music might make the difference.
Bronx-born Latin pop sensation Kat DeLuna opened with a pair of utterly forgettable track-sung tunes that epitomizes just what True Colors doesn’t need: low-brow hit radio bilge.



Filling in where The Gossip shook the Pavilion’s foundation last year was the gnashing, guitar-centric sound of Canadian quartet The Cliks, featuring the impressively masculine bellow of transman-vocalist Lucas Silveira.
New York-based Russian songstress Regina Spektor’s flexible pipes lent themselves well to a stunning blend of pop, new wave, cabaret and classical elements, beginning with the a cappella “Ain’t No Cover,” and finishing with “Hotel Song” featuring NYC’s Only Son (Jack Dishel) and his marvelous beatboxing. Alas, Spektor’s set was a creative high point that proved a tad demanding for the antsy crowd.
After a 20 minute break from “Queer Eye” MC Carson Kressley’s painfully campy monologue (where’s Chuck Barris and his gong when you need ’em?), Rosie O’Donnell emerged for a surprisingly sensitive comi-tragic discourse on maternal relationships and Irish-Catholic guilt. The B-52’s followed with a festive set fueled by guitarist Keith Strickland’s signature sci-fi-gone-surfing riffs, featuring a half-dozen songs from the recent “Funplex” CD. But while the new tunes were good, the B-52’s performance would’ve been better balanced with one or two more oldies.
Despite being visibly annoyed with some technical problems, Lauper turned in the evening’s best set - a mix of high-energy showmanship and quirky, powerhouse vocals. Sprinkled in between fan favorites such as “I Drove All Night,” “Change of Heart” and “She Bop” were hot tunes from her new CD, “Bring Ya to the Brink,” such as the Latin-tinted “Rockin’ Chair” and Kylie-esque electro-meltdown “Into the Night.” O’Donnell joined in on backing vocals and drums, Silveira transformed “Money Changes Everything” into a charged vocal duel, and the whole gang turned up (minus Spektor) for a cover of Sly & the Family Stone’s “Everyday People” and, of course, “True Colors.”
In the end, True Colors 2008 was a fine time. But knowing that dates in other cities will include Tegan & Sara, Joan Armatrading, Wanda Sykes, Puppini Sisters, Margaret Cho, Erasure’s Andy Bell, Indigo Girls and Joan Jett makes it seem like Boston might’ve gotten shortchanged.