Ton Steine Scherben
Keine Macht Für Niemand

THE REVIEW

I had some qualms before starting to write this review; I knew, in fact, that I would venture into a field, that of punk rock and its precursors, of which I know very little. However, the more I listen to the album in question, the more I realize I have something important and significant in my hands, something that deserves attention. I have, therefore, decided to go ahead and write these few lines, thinking of them as a sort of proposal, knowing that someone else, through comments or a "duplicate" (this time welcome), will proceed to say something more detailed and pertinent.

The Ton Steine Scherben were the happiest creation of Rio Reiser, a charismatic Berlin "songwriter" politically and socially engaged in the same left-wing scene that in Italy saw bands like Area and Stormy Six active. However, unlike these two Italian bands, the Germans preferred a musical approach oriented towards a direct, engaging, and communicative rock, definitely anchored to certain 70s styles, but also capable of evolving towards a surprising decisive and essential proto-punk.

"Wir müssen hier raus", the opening track, stands as a sort of manifesto for this stylistic choice: it is a true anthem to the vision, so dear to Reiser, of a new free and supportive world, conveyed by a blues rock with a distinct Dylanian flavor, especially in the vocals. It is a snapshot of the difficulties of the current world, but also a strong and determined song of encouragement: "wir sind geboren, um frei zu sein" (we are born to be free) and "wir werden es schaffen" (we will make it) are the verses that recur most often, sung with sincere passion. The blues rock, simple and sometimes raw, also forms the backbone of other tracks like "Paul Panzers Blues", a collection of scenes of bleak suburban married life (which in certain points brings to mind - with due differences - the S.O.D., for example, those of the track "Pre-menstrual Princess Blues"), "Schritt für Schritt ins Paradies", a hard blues anthem to Reiser's utopia, the (only apparently) carefree ballad "Allein machen sie dich ein", an invitation to solidarity, and "Feierabend", a track that, however, in its second section introduces more aggressive vocals with decidedly punk tones.

The punk attitude, which makes its way into tracks sounding like true precursors of the genre: the fast, engaging, and irresistible "Die letzte Schlacht gewinnen wir!", which inexplicably reminds me of the Strokes (maybe it's the guitars, or perhaps the fact that, judging by the period footage, in terms of look and attitudes the two bands are quite similar), the duo "Mensch Meier"-"Rauch-Haus song", where the influence of the Velvet Underground peeks through and, especially in the second track, the tones become those of a protest song very close to certain themes of the Clash, the anarchic anthem "Keine Macht für niemand", which in certain passages closely resembles the contemporary New York Dolls, and the long "Der Traum ist aus", an epic proto-punk (especially in the choruses) with instrumental digressions for flute and guitar not far from a certain early krautrock (Xhol Caravan, for example), where Reiser confesses his highest ideals and ultimate personal commitment to pursuing them.

The album concludes with "Komm, schlaf bei mir", a delicate declaration of love reminiscent of Amon Düül II's "Sandoz in the Rain", where, however, it distances itself from hippie-inspired free love clichés, instead exalting love as one is fully aware of one's freedom and personal value.

In short, those curious about the roots of punk can find in "Keine Macht für Niemand" a valid starting point (digging further into German soil they might find other surprises). For everyone else, I feel that I can assure you that this is an album of considerable "specific weight".