Alles begann 1993: Aus den Überresten der Nürnberger Deutschpunk-Band USK ging die Vier-Mann-Combo DROOGIE BOIS hervor. Neben eigenen Streetpunk-Songs standen Klassiker des Oi!, z.B. von 4 SKINS, LAST RESORT, COCKNEY REJECTS, COCK SPARRER, u.a., auf dem Programm. Nach einigen Line-Up-Wechseln löste sich die Band 1995 schliesslich auf. Aus jener Zeit existieren lediglich einige Demoaufnahmen und Live-Mitschnitte in Bild und Ton.
Im Sommer 2008 trafen sich drei ehemalige Mitglieder der DROOGIE BOIS auf der Hochzeitsfeier des einen wieder und beschlossen, es einfach noch einmal zu versuchen. Schnell war klar, dass es wenig Sinn machte, einfach wieder die alten Songs zu spielen. Und dem Boys-Alter waren die Drei mittlerweile auch entwachsen....
Die DROOGIEZ sind wieder auferstanden! Und besser als jemals zuvor! In den 15 Jahren dazwischen tobten sich die Drei in verschiedenen Musikgenres aus, sei es im Streetpunk, Oi!, Hardcore, Garagepunk, Ska oder Rock’n’Roll. Arne war Gitarrist und Sänger bei THE OMSK und THE HINKS und spielte in den 90iger Jahren Bass bei OXYMORON. Tom spielt seit einigen Jahren Schlagzeug bei der Hardcore-Band SPITE!. Lars war Organist und Sänger bei den DEADBEATS und ist seit 2008 Bassist bei STOMPER 98.
Was die drei Droogiez vor allem verbindet ist genau die Ära, welche sie musikalisch am meisten geprägt hat und somit auch den Sound der DROOGIEZ ausmacht: End-70er-Punkrock!
Recorded under the auspices of pioneering producer Brian Eno, 1978's Q: Are We Not Men? A: We Are Devo! was seen as a call to arms by some and became an underground hit. Others found DEVO's sound, imagery, and material threatening; Rolling Stone, for example, called the group fascists. But such criticism missed the point: DEVO dramatized conformity, emotional repression, and dehumanization in order to attack them, not to pay tribute to them.
While 1979's Duty Now for the Future was another strong effort, the band broke through to the mainstream with 1980's Freedom of Choice, which contained the platinum-selling hit single, "Whip It", and represented a peak in their songwriting. The video for "Whip It" became an MTV smash, juxtaposing the band's low-budget futuristic look against a down-home farm setting and hints of S&M.
DEVO's next two albums, New Traditionalists and Oh NO It's DEVO! continued their 1980's decade world touring success accompanied by the hit songs, "Beautiful World" and "That's Good" respectively. Shout was released in 1984, and Total Devo in 1988, followed by a live album titled Now It Can Be Told: DEVO Live at The Palace in 1989. After releasing a studio album entitled Smooth Noodle Maps in 1990 the band left the world of touring and recording to pursue film and TV projects.
During the 5 year hiatus the band released Hardcore Devo Volumes 1 and 2, early 70’s era compilations which showcased DEVO's seminal, minimalist electronic rock recordings. Those mind bending works were followed by the release of a pair of double-disc DEVO anthologies: the first was the half-hits/half-rarities Pioneers Who Got Scalped: The Anthology (on Rhino), while the second was the limited-edition mail-order release Recombo DNA (on Rhino's Handmade label), the latter of which was comprised solely of previously unreleased demos.
Also during this time,Mark Mothersbaugh moved into composing for commercials and soundtracks, writing theme music for MTV's Liquid Television, Nickelodeon's Rugrats, Pee-Wee's Playhouse, and the Jonathan Winters sitcom Davis Rules. Buoyed by this success, Mothersbaugh opened a profitable production company called Mutato Muzika, which employed his fellow DEVO bandmates Robert Mothersbaugh and Robert Casale.
Meanwhile, Gerald Casale, who directed most of the band's 20 music-videos, directed numerous music videos, most notably for Rush, the Foo Fighters, Soundgarden and Silverchair before moving on to a successful commercial directing career.
As DEVO's legend grew and other bands acknowledged their influence (Nirvana covered "Turnaround," while "Girl U Want" has been recorded by Soundgarden, Superchunk, and even Robert Palmer), their minimalistic electro-pop was finally given new exposure on four dates of the 1996 Lollapalooza tour, and six dates on the 1997 Lollapalooza tour, both to enthusiastic fan response.
Those legendary appearances lead to limited annual touring in the US, Europe, Australia and Japan along with conceptual projects such as a CD-ROM game (The Adventures of the Smart Patrol) with it’s accompanying music soundtrack and DEVO 2.0, a DVD project for Disney’s Hollywood records featuring CG animation composited with a teen-aged band playing DEVO’s hits. In 2006 the young DEV2.0 band successfully toured middle schools in the USA.
2006 turned out to be a pivotal year for the original DEVO as well. With Mark’s help, Gerald Casale wrote a song for his advertising agency friends at Mother NYC called “Watch Us Work It”. Mother placed the song in a national spot for Dell. The spot aired during the NFL play-offs and through to the Superbowl in 2007. The response was so huge the band released the song on itunes to spectacular fanfare and brisk sales. Industry tastemakers came knocking. Their persistence paid off as DEVO began collaborating on new songs for the first time in 18 years.
By 2009 DEVO had over 35 new songs and interest from their original label, Warner Brothers Records. DEVO decided to reverse course, abandoning their insular, secret world in favor of embracing all the modern techniques of marketing, focus groups, crowd sourcing and social media while simultaneously offering wry satire on that embrace. Together with WBR they hired Mother to run the decidedly edgy publicity and marketing for what would become their 9th studio recording, Something for Everybody. Songs and final mixes were chosen by fans as were DEVO’s new, blue Energy Dome color.
Many licensing deals followed for the group’s new songs including “Fresh”, “Human Rocket” and “Please Baby Please”. Then, in 2010, the group embarked on a year-long concert tour bringing a mix of old and new music wrapped in up-to-the-minute theatrics, light shows and video.
Currently the band is developing a musical based on their alternate world, Spudland, populated with such characters as Booji Boy, Dr. Byrthfood and the nefarious Rod Rooter as well as placing finishing touches on a darkly comic, “DEVO origins” feature film script. The band is confident that these major endeavors, when realized will show a new generation that de-evolution is real.
More info on DEVO at:
DEVO's Wikipedia Page | DEVO's Facebook Page | DEVO's Twitter | DEVO-Obsesso.com
LTJ Bukem would have you believe that he took drum-n-bass to a new level. He would have you know that he gave that gritty style an elegance, a grace, an acceptable glamour. His Logical Progression DJ sets and the labels associated with his Good Looking Records organization all promoted what he and his acolytes termed "intelligent drum-n-bass." Herein lies the problem.
Bukem is a snob. The internal logic of the term "intelligent drum-n-bass" requires that we must think of everyone else's as moronic, noisy, and unkempt. Bukem's style, so the logic runs, is progressive, pioneering, and ground-breaking, yet when you listen to the many Good Looking compilations, they recall Roger Dean's Hypgnosis artwork and the preposterousness of 1970s progressive rock. Why would anyone use the term "progressive?" How many melodramatic trance tunes have beset us under the nauseating guise of "progressive house?" Progressive is code for "a load of wank."
So it's ironic then that Bukem has abandoned his so-called progressive sound to produce Journey Inwards, a record that invites comparison to 4 Hero's Two Pages. Bukem is no longer interested in stunning us with his liquid ambiance. Instead, he's joined other junglist deserters in their common and quite pointless quest for a lost sequel to Herbie Hancock's Sextant. Mix it Bukem's delusional Rick Wakeman keyboard theatrics and Ian Anderson flute malarkey, and you've nailed this double album.
Yep. Two-discs. This extended set only gives further evidence of Bukem's Yes tendencies. The session musicians he's hired are solid enough, though. (They are session musicians, after all). They proficiently flesh out Bukem's undernourished ideas. But there's a passion lacking from the proceedings. Each of these 14 tracks are laid down to satisfy the requirements of your local hip martini and sushi bar. This album's mellow Rhodes piano and ride cymbal flourishes will complement your local's frosted windows and utterly sophisticated white walls.
Nonetheless, Journey Inwards outs Bukem as the conservative I'd always suspected him to be. His junglist work eschewed the grit and psychosis of the original hardcore breakbeat cadre to return to a dreamy, unspoiled, unreal place in space. Unlike genuine offworld pioneers like Sun Ra and Derrick May, Bukem's journeys into the universe weren't exactly in search of a harmonious world, free of Earth's manifest bigotries. I suspect him of more middle class aspirations. Hopefully, he'll find his own happiness on Journey Inwards, because this isn't the species of joy I'm comfortable being surrounded by.
Band des Monats
Das Heimdall Projekt
Neu Neu Neu
CD live in Regensburg
CD Edda Zyklus 1