Tank Battles

Finally, we get a glimpse of Lily Von Schtupp's ill-conceived career after she left the backwater town of Rock Ridge. 3/10 2 stars

From what I could dig out on YouTube, this is very Brecht/Weill, sounds like Lotte Leyna. I'm not much of a fan of this style, and my kids *DESPISE* it! Guaranteed to drive them to the edge of sanity. The English lyrics are quite clunky and remind me of polemic from a Socialist Worker article. As the great Molly Ivins said about Pat Buchanan's speech at the 1992 Republican convention, "probably sounded better in the original German"

6/10. Still a better war album than Let England Shake

She had me at "Look, there's a new crack started, even the bricks have farted." Actually, I was all in before the first measure of the first song was complete. Fantastically theatrical, so dramatic, so compelling. Why this isn't available streaming anywhere but YouTube is beyond me. Apparently it was never released in the US. I love Dagmar Karuse's vocals. I can't stop thinking about these songs. Wish I was sipping a cocktail in Berlin right now... Beautiful! I loved it!

That was… unexpected. Beautiful voice and reading a bit about the artist who she covered, I can see the beauty in it, but it feels like a cold war level of importance which doesn’t resonate so much with me.

This is a truly bizarre one. It's probably the first album so far on my generated list to have no presence on Spotify. It's not even unavailable, it's just missing entirely by the looks of it. I found the full album on YouTube, or at least most of the album I think? The disk it was recorded from had bad popping noises throughout and it ended abruptly, though the video seemed to be about the length of the album. Gonna be weird having a permanent missing song from my curated list, but I'm sure there will be more. This made for a good background album I suppose. Didn't particularly enjoy any of it, but it wasn't bad as such, just not for me. It's certainly got a dramatic and theatrical aspect to it. Who is this for? In fact, I'm fascinated about why it's on the list; I'd be interested in reading the entry this has in the 1001 albums book. That's not from a place of distaste, I'm honestly curious about what landed it in the 1001. There's not much information about it on Wikipedia. I can't shake the feeling that I've heard Lied Von Der Belebenden Wirkung Des Geldes somewhere. Absolutely no clue where though... Favourite: Lied Von Der Belebenden Wirkung Des Geldes Favourite:

My interest in Weimar-era agitprop has not increased with age.

Quite extraordinary songs by Hanns Eisler who collaborated with Brecht but is less well known than Brecht’s other collaborator Weill. Socialist, sardonic, witty and poignant, the songs retain their power to shock and stir. And Dagmar Krause is a stunning interpreter of the songs - that gravel voice, born to perform in the Weimar Republic cabaret but gifted to the modern age. The whole album needs to find its way to streaming services - it deserves a wider audience.

Wild theatre-kid energy

Five star simply because its had the good grace to be impossible to find so saving me time.

It is strange to me that this is an album "you must hear before you die," yet no album by Dagmar Krause's band, Slapp Happy, made the cut. If you know anything about that band, you would know it is quite a bit better than this, or at the very least deserves it a little more. This album can be daunting, as despite its average runtime, the amount of tracks in juxtaposition to the lack of variation can lead to a lot of songs whizzing by with very little to recollect later, and it leads to the majority of the album being forgettable, even to the point of annoyance by the end, but I'd be lying if I didn't say the sappier, more musically well-constructed material had me more intrigued. Krause's voice is not stereotypical, but it is technically impressive at times, and I'd say the strange delivery combined with the off-tempo instrumentation lead to a lot of moments where I think I could enjoy this in small bursts. It is hard to tell, as the songs not being on streaming means I can't quite remember a favorite or two to listen to later, but I know they were in there, and while that was bound to happen with a whopping twenty-two tracks, I still have to give it some (Stockholm Syndrome-esque) credit. It isn't a good album, and I can't recognize why many would come away from this confused and angry at what they just listened to, but I think it barely scrapes by as just weird enough for it to be barely up my alley. You won't see me recommending it to anyone else, though, and it certainly isn't an album to listen to before you pass away.

A modern interpretation of songs written in post-WW1 Berlin. The arrangements may not be for everyone, but most of the tunes capture the feeling of hopelessness that pervaded Germany not just when these songs were written, but in the midst of the Cold War.

What is this doing on the list? Weimar-era art song has some enduring influence on contemporary music, but is _this_ really the example you must hear? Serialist-inspired agitprop kabaret from the second most important song composer of the period is pretty niche, as shown by the difficulty in finding this album online. It's quite a tribute to Hanns Eisler (who, let's face it, was hardly Brecht's number one collaboration) and this is surely the definitive recording of this material. I am sure it was enthusiastically received by the 87 people who bought it on first release. I am stunned that a major record label poured as much money and effort into this record in the first place. it is, to give it all due credit, wonderfully arranged, performed and recorded. This was not an inexpensive undertaking. Dagmar Krause has a really great voice for this type of thing. But how the hell did anyone at Island record ever think this would recoup its budget? I hope that they found other gainful employment after their inevitable firing. I found if I settled in and let it wash over me, I could listen to this record. It's OK, you know? But including it on the list of 1001 must-hear albums is either willful perversion or hubristic pretension. Not for the first time, I implore Robert Dimery to pull his head out of his arse.

Interesting album, a commentary of war and political standings. Almost felt like a slam poetry session, with more production value. While a good art piece, I wouldn’t necessarily call it good music, or something I’d enjoy listening to often

More like a performance art piece. Sort of reminiscent of Brecht. Addendum - it turns out that the music on this album were all written by Hanns Eisler, who worked with Bertolt Brecht, so it was a reasonable reaction. It got better when I stopped actively listening to it and it was more background to me reading.

This sucks, is in German, and is not on Spotify.

Wish the whole thing was available somewhere but loved what I could find

Truly bizarre. Makes me think of a fictitious anime film soundtrack composed by a 4AD band. Picking up on heavy Dead Can Dance vibes. I wouldn't give this any overwhelming praise but it's a positive for me purely on its uniqueness.

Interesting. This is different enough that it's hard to judge. It's good enough for 3 stars with just one listen. Some music requires a little effort to fully appreciate, and this might be such a case. But I don't enjoy it enough to put in the work (which might just lead me to the conclusion that, yes, this really is just 3 stars).

This was soooo weird and not in a good way honestly. The voice sounded like Meryl Streep down two octaves and doing push ups. Just a weird album altogether.

I had to listen to this on YouTube and it was the English version. I came to appreciate that, though, because these songs are incredibly biting, funny, and satirical. I felt swept away to Weimar Germany by Dagmar’s voice.

This certainly takes me back to 1920s Berlin. Krause's voice is quite remarkable! I'm not going to play this a lot, but I loved hearing something unlike anything else I've listened to in 900+ albums.

This was fabulous! I could imagine enjoying the show in a club back in time.

Love Dagmar Krause, Hanns Eisler and Bertolt Brecht 🙏 Very pleased to have them recognized on here. Go modernist theatre!

I was able to find this album on Youtube. This album is Dagmar Krause's interpretation of Eisler-Brecht songs and is a combination of cabaret and avant garde music that is meant to evoke post-WWI Germany during the Weimar Republic. The songs are stark yet richly brought to life by Krause. The musical backing fits them well and seemingly owes more to 20th century composition than to popular music. With Krause's unique vocal style and emphasis of certain words and tones, I was reminded of Schoenberg's 'A Survivor form Warsaw' which is as high of praise as I can give this album.

The theater kid in me loved this, 10/10 would audition for

It's enjoyably Teutonic and operatic. Wagnerian. Bit obviously without the odious views. Feels a little bit like Tom Waits. Hard to say if I love it from the first listen... But I want to hear more, so that's good.

Вроде люблпытно

The amount of reviews here that just say "weird" and call it a day is a testament to the normie-ness of the userbase. It's 1920s German Cabaret songs composed by a Marxist and with new lyrics translated into English. What's so weird about that?

Quite interesting. Tank Battles is an album I'll remember for its unique singing and presentation.

Found it here: https://youtu.be/JbYmWrfNJpQ?si=KB05SRDULWAIWZRY It's giving me Cohen vibes weirdly. If Nico was a good singer and covered Scott Walker covering Jacques Brel. I like it. It's dark, avante-gard. Challenging, but rewarding.

How do you even start reviewing and scoring this cabaret-style output? It's obviously representative of a different songwriting tradition than the vast majority of albums on here, which are all, in some way, popular music. Dagmar Krause delivers a distinct, emotional vocal, which suits the play-like compositions perfectly. Perhaps it would work better if there was some visual aids accompanying it - like a theater stage? Ultimately, the thing dragging Tank Battles down is the inclusion of too many 1-1.5 minute tracks that are basically just intermezzi, but really damages the flow of the record and make it quite clear, that this really isn't an album at its' core.

This is the happiest album in Germany

Would much rather have any of three other albums in place of this on the list: Henry Cow's "In Praise of Learning," Art Bears' "The World As It Is Today," or Slapp Happy's "Sort Of" - all of which feature Dagmar Krause on vocals. I mean, go ahead and listen to "Tank Battles," as it is your solemn duty on this 1001 journey - but if you want to hear something that you might actually enjoy, or at least find more interesting, listen to these other records (all available on Spotify to boot). And, while we're talking about German female vocalists, do yourself a favor and listen to Renate Knaup from Amon Duul II.

I want to give this a one but since we share a surname I think Dagmar and I must be related. You have to stick by your family, even if they make a horrible, horrible mistake. Also, joking aside, there are parts of this that aren't that bad. Whenever she's actually singing in German and there's actually music playing behind her, I feel like there's some quality here. It's when she sings uncomfortably in English and/or the "music" turns into "arthouse circus" that I get sad.

This is uh... pretty offbeat. Has the feel of show tunes but it's surely also a bit too inaccessible for that. Maybe some kind of independent theatre production that runs on off nights. But I... don't hate it? On paper I fucking hate it, but I kinda don't. It's a complete and utter wank, sniffs its own farts and tells itself it's very intellectually stimulating. 2/5.

This sounds like the music for an overly earnest regional arts theatre group.

This album can kiss my ass. What even was this? Sounded like a very bad off Broadway German play. 2/10.

Feel free to skip this, you’re not missing out on much

Jeg havde virkelig ikke behøvet at høre det her inden jeg dør

Why 5? For on album I cant find? And what is this niche called “Cabaret, jazz, avant-garde”? Its music from the 1920s! The 5 is for the genre - salty dark/light style of Deutsche serious fun - its poetic dramatic themes, time, and place. I am happy and a bit surprised to find it here (and that my beloved Ute Lemper’s album is also on the 1001 list at some point!) So, the album is too hard to find. So if you really want a taster, I include suggested samplers below so you can “taste” this salty dark/light style of Deutsche serious fun. Can i do that? I do. A hugely influential genre, and very special style - I call it Kabarat - the “Weimar Republic era” in 30’s Germany - songs from dramatic plays in what one might all very progressive times, and works such as The Threepenny Opera, or Brecht-Weill's "sung ballet" The Seven Deadly Sins. We are deep in Brecht / Weill / Eisler territory and its harsher, heavier and more demanding but truer in German. Its not just music for femme fatales to sing as cameos in WWII films, across the 20th century, everyone from Louis Armistorng, Lou Reed, Nick Cave,Tom Waits, and Mariane Faithful got together to do cover versions of this stuff. The current ‘pure’ singers is Ute Lemper - superb - seen live: her voice cuts you. Robyn Archer is apparently good. There is also an opera singer who does Kurt Weill - Teresa Stratas . The core singers originally were Lotte Lenya - the original (she married Weill) Marlene Deitrecih (yes), And somewhere this Dagmar Krause inthe 80s?. P.s. This entry was supposed to be about this album you just cant find it streaming on the main two - Spotify and YoutubeMusic, except as playlists) Tank Battles (1994) reissued covers both the nelgihs and german versions (Tank Battles: The Songs of Hanns Eisler by Dagmar Krause 1988. & Panzerschlacht: Die Lieder von Hanns Eisler. Sung in GERMAN Meanwhile.... Recommended showcase albums ALBUM: “Punishing Kiss” - Ute Lemper (2000) - NOTE: this is elsewhere on the 1001 list (2010 version) Compilation” Lost In The Stars: The Music Of Kurt Weill - various artists (1985) (includes Dagmar Krause - “Surabaya Johnny” ( very good audio) . Film & CD & DVD: “”September Songs – The Music of Kurt Weill” (1994) (there is a 2015 DVD) - documentary + all star performances A weird but flawlessly done one - by industrial band from Zurich The Young Gods Play Kurt Weill (1991) Go hear Mack the Knife - Nick Cave Then listen to the The Louis Armstrong & Bobby Darin versions Alabama Song (whisky Bar) - the doors (166 on their debut album) . “Moon of Alabama (good Quality Audio)” - Lotte Leny (1930s recording I presume) Bilbao song Pirate Jenny, After all of this, the Hollywood version of CHICAGO might seem vanilla. Maybe try the older versions....

This album is way off the beaten path. I've never heard of Dagmar Krause. She has a great voice. This type of stuff is why I started this project. I don't need to be validated with albums I already know I like. I need albums that push my boundaries and challenge my ears.

Really captivating album. I can't believe I waited so long to listen - I guess I saw German and thought it would be early edm, plus not being on spotify I gave up for a bit. But I am seriously impressed. Theatrical, delightfully disturbing, and there's even a truckload of clarinet content! So unique. I feel like I owe it to listen again and do my research on the lyrics too. Great stuff

Ausgezeichnet!

ich bin so überrascht gsi, wie geil die musig isch wtf so en banger

Different, but Cool!

Glad I found this on YouTube because it is so unlike almost anything I’ve heard before. It reminded me at times of the Sparks musical Annette, of Eurovision, of circus/carnival adjacent films like Dr Parnassus and Nightmare Alley, and even a little of Kate Bush and Marianne Faithful. Obviously deeply political, with heavy hitting lines like “now you know how things can become, don’t you ever forget how it began” that sadly feel as relevant now as ever, I was captivated throughout. I don’t think I’d ever listen to it again but I’m really glad I did today because it was surprising and confusing in a thought-provoking way, like pondering a complicated painting or watching a multifaceted documentary.

Very interesting. It felt like I was listening to a musical, but with far more dissonance.

Different sound and unique vocals.

What did I just listen to? I'm down with German opera but would need to listen more closely to really follow what was going on.

I'll start directly with my grade, just as I've just done yesterday for k.d. lang,'s debut, also released in 1988. Musical competency: 5/5 (as for 99% of the records listed here) Production values / groundbreaking aspect : 0.5/1. Given the sort of album that this one is -- i e. a "recital" of songs composed by a Bertolt Brecht accomplice in his usual "distanciated" / expressionist fashion -- it would be surprising that the required professionals called for the production of such a specific endeavor could ruin the performers' efforts. The "recital" aspect doesn't give a lot of groundbreaking quality to the tracklist, though. Those were songs written in the first half of the 20th century, and you have the feeling that they're most of the time sounding just like they must have sounded back then. Maybe they don't, actually, but it's hard to find something striking enough in the record to help a non-expert make up their mind on the matter...See also "Personality" below. Vocal performance : 1/1. Well, that singer knows how to perform such weird stuff. And the strange German inflexions in English only add to the weirdness of the subject matter Personality: 0/1. Once again, the "recital" aspect muddles the picture. On the one hand, Hanns Eisler's songs show TONS of personality, but on the other hand they could be performed by a radically different, yet equally apt personnel, and they would probably sound the same in broad strokes, if not *exactly* the same. There's a reason "classical music" isn't included in this book (it would actually deserve to have its own 1001 albums list, albeit with a totally different set of requirements). The "modern album" format implies that artists bring something on the table that only *they* can pull off ,(which is why in the field of orchestral music, albums under the names of Arvo Pärt, Steve Reich or Philip Glass *should* have been included in Dimery's work!). This is not what happens here. Hence that 0/1 grade, not about the personality of the music, but about the personality of the *album* presenting the latter. Compositional work: 1/1. You just can't deny the musical imagination that has been put into those compositions. Is this musical imagination easy to digest in large spades? Nope. *Tank Battles* surely feels like a *long* album. But there are enough gems along the way to reward active listening (one example among my favorites: "The Perhaps Song"). Thematic impact or lyrics that would be particularly striking...: 1/1. Here the "récital" aspect is an asset, as you obviously have a treasure trove of themes and other things to catch in the lyrics, as well as a strong artistic impact overall. So that's 8.5/10 for *Tank Battle*, but if we are talking about *essential* albums here, only the last five points matter (musical competency is a given for acts reaching those heights, is it not?). And this is how I interpret the five stars grading system in this app. Which gives us 3.5/5 mark, rounded up to 4. Next, please. Number of albums left to review: around forty, as I've gone over the 1000 line and this generator is including albums from all editions of the book Number of albums from the list I find relevant enough to be mandatory listens: 460 Albums from the list I *might* include in mine later on: 272 (including this one) Albums from the list I won't include in mine: 334

This was a weird one. Very unique, incredible vocal performance. I would not have given it the jazz tag- much closer to modernist orchestral music, though with modern arrangements. Not something I would listen to regularly but an interesting idea to take old German compositions and turn them into something new.

Non malvagio, anzi!

Found a YouTube playlist that pulled all the tracks together in one place! I gotta say, I 100% was not expecting this when I hit play. Very theatrical/showtunes-y but with a very bleak feel. Makes total sense that it's a bunch of Weimar-era Cabaret songs. I like the tracks in German better than the ones in English. The whole point of this project was to introduce myself to new-to-me music that I wouldn't come across or seek out naturally, and I think this album is a great example of that. It's weird and dramatic, but I'm into it.

Nein es ist kein Main Stream. Musik muss auch kritisch sein und anecken. Die Interpretin geht ihren eigenen Weg und bleibt diesem stilistisch und inhaltlich treu. Dies z er ihr das Album, dass schwierige Musik und anstrengende Texte durch die Kraft und die Markantheit ihrer Stimme zu einen angenehmen Hörerlebnis macht. Ich will es nochmal durchhören.

ud fra coveret troede jeg at det ville være noget Sheryl Crow-agtigt adult alternative fra 90'erne haha, tog helt fejl i mit vibe check. Virkelig positivt overrasket! Det hjælper nok, at jeg er glad for musicals og den teatralske måde at synge på, men synes også arrangementerne var virkelig smukke. Marlene Dietrich vibes! Jeg tænkte dog ret ofte, at oversættelserne lød lidt unaturlige

(Listened on YouTube). Sounds like the soundtrack to a German musical play. Not that that's bad in itself... I honestly can't figure out how I feel about this. Like, it's kind of fun and oddly comforting, but it's also just... weird? xD Idk... I THINK I like it? My first instinct is to give it 3 stars because I'm so hot and cold on it, but because it has me so confused about how I feel... I think that deserves a bump to 4. xD

Politics and commentary in a cabaret style. This is an excellent reminder that music and songs have an embedded and often implied social structure and are part of social ideas as a whole. We are constantly building and re-enforcing a world view with our music and songs.

1920s German songs, words by Bertold Brecht and several other contemporary German writers, music by Hanns Eisler. Great arrangements, carefully stylised staccato vocals. Melancholic and powerful. This edition has the lyrics in English Translation. I also listened to some of the German language edition - despite not understanding the words, it sounded even better to me in German

8/10. I love the unique vocals, and strong messages. It was a delightful and unique experience to listen to this album. However, the album could have been slightly shorter. :)

A German cabaret album with a Brecht/Weill undertone.

A nice discovery. I wanted to like it a lot more than I did. Intriguing mad cabaret feel, and I wouldn’t be surprised to find that this influenced Tom Waits’ Black Rider, The Legendary Pink Dots, divine comedy, and a lot of other late 80s theatrical avant-garde acts. I will definitely give this a few more listens To catch things that I might have missed. Difficult to find these days, but very deserving of a spot on this list.

A fascinating listen, musical theatre essentially. Very interesting. I only listened to the In Our Time episode on Brecht the other day, serendipitously. Obviously also maintained an interest through Bowie's work also. Whitewash, Sackslingers, Bourgeois Welfare, Trenches. Striking tracks all. It's probably necessary for me to seek out some Art Bears to get more of that voice.

With the album released just prior to the Berlin Wall coming down, Tank Battles is a late 80's recording of music composed in the 1920s by a frequent collaborator of playwright Bertolt Brecht, Hans Eisler. Some songs are sung in English, some in German. This is about as early modern as you'll probably get as far as compositions - it's an eclectic mix that brushes cabaret, jazz, and 20s popular music. It's indeed very evocative of interwar Berlin, with chronicles of the descent into madness prior to the Nazis taking over. This feels like very important music - at times absurd/dissonant, and others very elegiac. Not an easy listen for someone whose ears have not heard much before classic rock or early rock & roll. The astute among you will recognize the last song of the album repurposed by Sting as The Secret Marriage on ...Nothing Like The Sun. It's well produced and sounds mostly era-appropriate, with a little bit of chorused guitar creeping in with it's 80s sound Favorites are The Perhaps Song, Ballade von der belebenden Wirkung des Geldes, Song of a German Mother, Bankenlied, Mother's Hands, and To a Little Radio.

I ended up finding this on YouTube and it's pretty rad. Spooky cabaret.

This is already weird. 🤣track three has my attention. The rest so far sounds like the weird stuff in “yes man”. This feels like it should be a musical of some sort. I might enjoy this more if there were visuals. There is some good stuff on here. I think I can give this a three. Oddly I like the German lyrics better than English. Something about the way those melodies flow. This was way better than I expected it to be. It took me on a journey.

3.8 mostly for originality

Wasn’t sure what to expect of an album that was almost impossible to find, and that had a lot of 1 star reviews, but it was markedly better than expected. Krause has a wonderful voice, and the whole album has a haunting beauty to it.

I don't know quite how to rate this. I think it's well executed and her voice is so perfect for this style of song. But the album is very long. I am not sure if I was supposed to listen to songs sung in both English and German, but I couldn't find a version that only included English .... hence, most of the songs twice. That said, I enjoyed this. It's such a particular style from a particular time, and quite specifically a product of the dire political environment of Weimar era Germany.

I think I liked this? It was giving Sally Bowles in Cabaret, and I enjoy that musical so.... It certainly wasn't what I was expecting. I didn't really listen too closely to the lyrics but the lyrics I did hear were... interesting. 4 stars!

That's one of the most bizarre things that I've ever listened to in my life. It was like the feeling of existential dread you get deep in your soul the day after an intense session on the whiskey. It was like listening to the soundtrack to an oddly macabre musical which doesn't exist. It was like listening into an alternative timeline and hearing something you shouldn't. Yet, it was strangely compelling. Once I'd got my ear in, I was kind of hooked and dragged along for the ride. What an odd thing this is.

Rating: 7/10 Best songs: Lied von der belebenden wirkung des geldes, Bankenlied, The trenches

Just excellent.

En syret udgave af soundtracket til Cabaret sunget af Kate Bush klonet med en østtysk steroide-atlet . Vild oplevelse.

So weird, but in the best way possible. Can see why it would not be everyone's cup of tea.

This was a bit of a journey to search out for it, and was able to find it on YouTube. But this was a rewarding listen. Very weird and out there music at a time brimming with political turmoil and change in Germany. I really enjoyed this, and if it was easier to find these, I'd probably listen to the German version as well.

Very Berlin 1920. I can't figure out if I want to listen with a score, so I can really follow what is happening, or if I should just listen for the shape of the line. I also don't really know enough about Germany to fully understand the deeper meaning.

As basically everyone has written, it’s a pain to have to listen on YouTube, but you’ve got to do what you’ve got to do. I had zero expectations but I ended up kind of loving this!? If nothing else, this is so historically significant with the Eisler / Brecht combo and includes some great compositions and politically interesting lyrics. With that said, I do have a degree in German literature, so I may have a slightly higher tolerance for this, but give it a chance! Also, Bankenlied is an absolute BANGER.

The friction in resorting to Youtube to listen to Tank Battles: the Songs of Hanns Eisler is not as delicious as hoped, and accidentally switching halfway between English and German versions banjaxed me, but this record has impressed me: it’s an icy, slightly boozy flash of 20th century modernism that forces home the brutal clatter, aggressiveness and sardonicism of many of the movements and manifestos, a fit to the century's dizzying rush of social change, technological progress and broadcast horror. Appropriate testament to Eisler, who appears to have had a heartbreaking life of exile piled on betrayal piled on exile. I see that Dagmar Krause's voice is divisive - are the opinions split between "she's pretty great" to "she's a genius"? Her enunciations punch, tickle, keen and beguile, even when I have no idea what she's singing about. This is music as cinema - it demands attention, so I may never return to it - this busy life we have! But I am grateful for being brought to this record. Time for a coffee Brecht.

This was a bit of a sharp - ahem - left turn for a Monday morning. I found it hard going in places, but it was interesting to listen to songs where the lyric is the key. The voice does what it needs to do, and that is not always easy. This feels like no-frills music that nobody makes any more. I am not sure I would play this often, but more like this, please.

i found this a fascinating listen. it's clearly something i would have not ever listened to, or even found out about. i could barely even find a copy of this album to listen to, but thanks to youtube, i was able to find it. i found myself really intrigued by the music. obviously a little challenging but reminds me a lot of other similarly european torch-music-esque stuff, like edith piaf. what i found most fascinating was taking the time to read about the composer of all the songs, hanns eisler, who was exiled from nazi germany to come to the united states, where he was once again facing persecution from HUAC. this music really put this into context for me. seems like a very fascinating person and wrote very interesting music. will i go out of my way to listen to this one again? probably not. am i happy to have listened to something that exposed me to something i ordinarily would not have with an interesting backstory? absolutely

Randomly picked this up on vinyl as it intrigued me. Very eclectic.

I didn't listen to all of it, because listening to it on YouTube is a pain in the arse. I don't think it deserves to be one of the lowest rated albums of the website. I like her voice and the music behind it, but it got repetitive and is probably too long

wasnt available :(

**Dagmar Krause’s *Tank Battles: The Songs of Hanns Eisler*** is a bold reimagining of Weimar-era political cabaret, blending avant-garde experimentation with the biting socio-political commentary of composer Hanns Eisler. Released in 1988, the album revives Eisler’s collaborations with Bertolt Brecht and other writers, offering a haunting bridge between interwar Germany and Cold War anxieties. Krause’s gravelly, theatrical delivery and Greg Cohen’s meticulous production create a soundscape that is as challenging as it is historically significant. Below, we dissect the album’s lyrical depth, musical innovation, production choices, thematic weight, and enduring influence, alongside its strengths and limitations. --- ## **Lyrics: Political Satire and Human Tragedy** Eisler’s lyrics, often written with Brecht, are steeped in socialist critique, dark humor, and stark depictions of human suffering. Krause’s bilingual performances (English and German) amplify their urgency: - **War and Capitalism**: Tracks like *“(I Read About) Tank Battles”* [1][2] juxtapose militaristic imagery with grim irony, while *“Bankenlied”* (Bank Song) [1] lampoons financial institutions with Brechtian wit. - **Personal Anguish**: *“Song of a German Mother”* [1][2] captures a mother’s despair as her son enlists, reflecting the cyclical trauma of war. - **Surrealism and Absurdity**: *“The Rat Men-Nightmare”* [1] uses grotesque metaphors to critique societal decay, echoing Kafkaesque paranoia. The English translations, though faithful, occasionally dilute the visceral punch of the original German. Listeners note that Krause’s German renditions, such as *“Ich werde nicht mehr sehen”* [1], carry a raw emotionality lost in translation [1]. --- ## **Music: Cabaret, Jazz, and Avant-Garde** The album’s instrumentation mirrors Weimar-era cabaret while injecting modernist dissonance: - **Jazz and Chamber Music**: Piano, brass, and strings dominate, evoking 1920s Berlin nightclubs. *“The Song of the Whitewash”* [1][2] opens with a prancing piano motif reminiscent of Kurt Weill. - **Avant-Garde Textures**: Greg Cohen’s arrangements incorporate discordant guitars and anxious rhythms in *“The Trenches”* [1], mirroring the chaos of war. - **Theatricality**: Krause’s vocal delivery—alternately snarling, mournful, and sardonic—elevates the material. Her performance in *“Mother Beimlein”* [1] channels Brechtian alienation, distancing the listener to emphasize political messaging. However, the album’s 26 tracks (many under two minutes) create a fragmented listening experience. While this mirrors Eisler’s episodic style, critics argue it disrupts momentum, making the album feel “more like a playlist of vignettes” [1]. --- ## **Production: Nostalgia and Modernity** Cohen’s production balances period authenticity with 1980s studio techniques: - **Acoustic Warmth**: Live instrumentation (accordion, clarinet, upright bass) evokes pre-war cabaret. *“Ballade von der belebenden Wirkung des Geldes”* [1] benefits from lush, jazzy arrangements. - **80s Stylings**: Subtle chorused guitars in *“Berlin 1919”* [1] nod to post-punk, creating a bridge between eras. - **Vocal Clarity**: Krause’s voice—described as “a cross between Nico and a Weimar-era siren” [1]—is foregrounded, emphasizing lyrical potency. The 1994 reissue added 10 German-language tracks from *Panzerschlacht* [2], enriching the album’s cultural context but exacerbating its already daunting length. --- ## **Themes: Echoes of Weimar and Cold War Tensions** Eisler’s work, written amid rising fascism, resonates with 1980s anxieties: - **Anti-Fascism**: Tracks like *“To a Little Radio”* [1] mourn the loss of intellectual freedom, mirroring East German censorship. - **Class Struggle**: *“You Have to Pay”* [1] critiques economic inequality, its message amplified by Krause’s snarling delivery. - **Existential Dread**: The album’s pervasive bleakness—e.g., *“And I Shall Never See Again”* [1]—reflects Eisler’s exile and disillusionment. Krause’s decision to record these songs in 1988, as the Berlin Wall crumbled, adds meta-commentary on Germany’s divided identity [1][2]. --- ## **Influence: Reviving Eisler’s Legacy** *Tank Battles* reintroduced Eisler to a new generation: - **Artistic Impact**: Sting repurposed *“The Secret Marriage”* for his 1987 album *...Nothing Like the Sun* [1], highlighting Eisler’s cross-genre appeal. - **Cabaret Revival**: Krause’s work influenced artists like Ute Lemper and post-punk acts embracing theatricality (e.g., Dead Can Dance [1]). - **Academic Interest**: The album spurred renewed scholarly attention to Eisler-Brecht collaborations, particularly their socialist critiques [2]. Yet, the album’s obscurity—largely absent from streaming platforms—limits its reach [1][2]. --- ## **Pros and Cons** | **Strengths** | **Weaknesses** | |---------------|----------------| | Krause’s virtuosic, genre-defying vocals [1][2] | Overwhelming tracklist disrupts cohesion [1] | | Historical significance of Eisler’s rediscovery [1][2] | Inaccessibility (limited streaming availability) [1][2] | | Cohen’s evocative, era-blending production [1][2] | English translations lack German’s emotional heft [1] | | Lyrical relevance to both Weimar and Cold War eras [1][2] | Niche appeal; alienating to mainstream listeners [1] | --- ## **Conclusion** *Tank Battles* is a demanding yet rewarding listen, marrying avant-garde audacity with historical preservation. Krause’s performances breathe new life into Eisler’s work, offering a visceral reminder of art’s power to confront oppression. While its fragmented structure and limited accessibility hinder broader appeal, the album remains essential for those interested in political music, Weimar culture, or vocal innovation. As one reviewer noted, it’s “a time capsule that refuses to stay buried” [1]—a testament to the enduring relevance of dissent.

It's very dramatic. And it's definitely an 'interesting' listen. It's like a soundtrack to a theatrical wartime production rather than a standalone album. I'm definitely not revisiting, but I kind of like that this is in the list. 2.5 rounded up.

For this review, I listened to the mostly English version of this album referred to as Tank Battles, as opposed to the full German version called Panzerschlacht. Alright, we have another difficult album to unpack on your hands. Strap yourselves in. Dagmar Krause is a German singer best known for her work in various art-rock groups like Slapp Happy, Henry Cow, and Art Bears. Alongside that venture, she had a fascination for cabaret music that came out of the Weimar era, a period of post-World War I Germany where the country suffered economic hardship and the rise of political extremism up to the point where fascism took over. In particular, Dagmar admired the works of playwright Bertolt Brecht and his musical collaborators Kurt Weill and Hanns Eisler. This interest was piqued to the point where she recorded two solo albums covering the compositions of Weill and Eisler. Tank Battles is the latter of those solo efforts, focused primarily on the works of Eisler. I will admit, cabaret music is not my forte here, where I can appreciate the elegance on display even if this is not what I normally seek out. It's apparent from the translated lyrics when this music was written, likely done in response to the political turmoil that Germany went through at the time. I can appreciate this perspective brought into the limelight when Germany was going through another tumultuous time with the separation of East and West by the Berlin Wall, and updated with newer instruments such as electric guitar. Also, I can tell this comes from a place of passion as Dagmar did her best to sell the emotion in her husky alto range that suits this music. Even if I can't fully connect to this music, and if I feel that Tank Battles is rather long, I don't regret listening to it. Instead, I can appreciate the historical significance preserved for the next generation from such a potent voice.

Mad Respect, but not for me.

January 16, 2025 HL: "(I Read About) the title track", "Ballade Von Der Belebenden Wirkung des Geldes", "Song of a German Mother", "Berlin 1919", "And I Shall Never See Again" I have a little context for this, as I had a professor in uni who often brought up Bertolt Brecht in theatre history. We'll see how this translates to a full listening experience I had written that Ute Lemper was the first cabaret-esque artist on this list; only true if you don't count Swordfishtrombones & Rain Dogs. Yet clearly I overestimated the amount of cabaret albums I would hear over the next two years. This is definitely one of the big wild cards of the project, so naturally it's among the lowest rated albums. The short runtime of many tracks forced an absurd comparison to grindcore band Napalm Death, who is right there next to Tank Battles in the lowest-rated. I particularly enjoyed the instrumentation, the mix of discordant guitars and quirky woodwinds providing a kind of surreality to the dark and political lyrics. The version I found online is the reissue, which contains more OG German versions of Eisler's songs. Songs like "And I Shall Never See Again"/""Ich werde nicht mehr sehen" sounded better in German, but I wasn't put off by the English lyrics either. Since many of the songs are fragmented, it was sometimes hard to concentrate on those song's structures, and I can see how a full hour of this can be too much. Since I did take theatre in university (and resultingly will soon have to start selling my organs), I accept that my tolerance for theatricalism in music may be higher than the average listener; for example, take the scratchy, sinister vocals in "Mother Beimlein". I think my own feelings fall around a 3.5/5, as once I got past the alienating songwriting of a different time and culture, I started to dig it.

The weirdest album I've ever heard in my life so far. It's got a jazzy vibe but the concept also is like dark and political too.

If Maria Von Trapp was unable to escape to Switzerland and forced to tour with the family and then gave all the kids a different instrument and immediately set out to record an album, this is probably what it would sound like. With that said, it is an important album and East Germany must have really sucked.

Tyska chansons, en självmotsägelse så klart men inte helt tokigt ... Trea

This is bonkers. Why did they do an English version? I really don't know what to do with this album. I mean, it isn't boring. None of it is exactly likable; some songs are compelling and pretty interesting in their own way, but other songs are grating beyond reason. Am I glad I heard it? Kind of? One of those baffling albums that is simultaneously one star and five stars.

Marching tunes, Scott Walkerlike singing. Can't quite tell what it reminds me of. Every theatrical singing grandma reminds me of Pugacheva, but this time the nostalgic vibes are stronger, sounds a lot like older soviet music. Maybe it's the movies about WWII. Oh, maybe Bella Ciao? Either way, it's nice music. Wouldn't mind hearing it again

Noe spesiell, men interessant.

Reminds me of the Ute Lemper record this site also recommended. A lot weirder/more dramatic. This feels like the soundtrack to a really underground off broadway musical. Super theatrical but really odd arrangements and tones. Not bad but I'd never choose to listen to it.

Olipa vituttavaa kuunnella, eli experiencestä puhutaan. Siitä respekt 3 star.

very dramatic! Was very middle of the road, nothing to get you going but not much to hate either

Very thoughtful, the instrumental arrangements are intruiging, I do love the combinationg of the german military music elements and folk songs in this one. The structure is more like musical theater than pop music album? The songs are often too short to be a song but rather a fragment or a motif. 2.5-3, I didn't enjoy it much musically but I appreciate the concept.

The Sorrow and the Ditty* With respect, this is genuinely, crazily, bleak. Thanks to whoever uploaded the source material. It's not a suite of music I'm likely to seek out again, but I am glad to have made the effort to listen through it all. It's quite impressive in its scope. *Review headline if I were a sarcastic Melody Maker sub-editor (which, tbf, might have been a dream job)