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In 1982, Huwe became aware that there would be significant changes for Xmal Deutschland after they performed as the opening act for Cocteau Twins. Prior to this opportunity, the band had been a product of the creative experimentation of five women immersed in Hamburg’s active punk scene. With an upcoming tour throughout the UK and a new record deal with 4AD, their experiment was gaining traction and had the potential to become a sensation.
Anja Huwe reflects on her desire to be in a band, but not as the lead singer. She recalls the moment she realized her potential during their first performance with the Cocteau Twins.
The London crowd likely had to think hard to understand Xmal Deutschland, who differed greatly from the dreamy Cocteau Twins. Their tunes were gloomy, forceful, quick, and sung in German. “They seemed perplexed and unsure of what to say to us,” Huwe remembers. “It was like they saw me as an outsider.”
Xmal Deutschland, with their new collection of early singles out this month, had a distinct otherworldly aura that followed them throughout their career. The band’s unforgettable image consisted of five women dressed in all black, though there were some lineup changes over the years with Wolfgang Ellerbrock and Peter Bellendir joining the group. They all wore studded bracelets and had big, teased hair in platinum blonde, black, and neon pink. Huwe took charge with their avant-garde poses and expressions, reminiscent of a silent movie star. Not exactly fitting into the categories of art punk or new wave, the band’s moody and rhythmic style made them pioneers of a genre that was yet to be named at the time – goth.
Except for guitarist Manuela Rickers, who was previously in a band called Huwe, the other members of the band – drummer Caro May, bassist Rita Simon, and keyboardist Fiona Sangster – had no prior experience. According to Huwe, they were not very skilled at playing instruments. However, they had boyfriends who were musicians and thought they could also give it a try using the DIY approach.
In 1978, Huwe attended a concert of the Clash and the Slits at London’s Lyceum. After returning to Hamburg, she cut her long blonde hair and began working at a punk record store called Rip Off. It was there that she became acquainted with Mona Mur and Mark Chung, who were musicians from Hamburg and also played in a band with Mona. They also played in other bands such as Abwärts and Einstürzende Neubauten. Mur remembers, “We immediately became friends and had a strong sense of solidarity.”
The office used to be a magazine headquarters, and musicians from Einstürzende Neubauten, Christiane F, and Mona joined them, along with the people who owned the record shop, according to Huwe. They were like a close-knit community. Unlike the bigger punk community in Berlin, Hamburg’s was smaller. They spent a lot of time together, collaborating on film and art and becoming known as the “new wave.”
In 1980, Simon was originally chosen to be the singer for Xmal Deutschland. However, when it came time to record their first single, Simon did not show up. This led to Huwe being asked to take on the role, and it was his haunting vocal style that helped to make their early single, Incubus Succubus, a standout among others. With its use of eerie laughter, synthetic howls, and Huwe’s dark chants, it quickly gained acclaim and became a beloved post-punk classic, even being championed by radio host John Peel on his show.
While spending time at Huwe’s apartment, Einstürzende Neubauten’s Alexander Hacke made an appearance and noted the band’s British sound. He suggested that they seek a record deal with 4AD, a label based in Britain.
During their trip to London, they were officially signed and discovered that the punk scene in the city was vastly different from what they were used to in Hamburg. According to Huwe, West Germany was a wealthy country at the time, but Britain was struggling and in a state of disrepair. Many musicians he knew in London hailed from the northern regions, such as Leeds, Manchester, and Scotland, and had left their hometowns due to economic hardships. In contrast, Huwe and his bandmates didn’t have much money in Germany but had enough to cover basic necessities and pursue music without concerns about making a profit. On the other hand, British bands were desperate to escape their dire situation and were driven by the potential to make money through their music.
After achieving success with two albums under 4AD, Fetisch in 1983 and Tocsin in 1984, their music took on a more refined and haunting quality. Tocsin also featured a new version of their popular track Incubus Succubus, which quickly became a staple on the dancefloor of Bat Cave, a goth club in London. However, the band members did not identify as goths, despite being heavily influenced by other dark artists such as Psychedelic Furs, Bauhaus, and the Cure. It wasn’t until later that the goth label became associated with their music. The youngest band member, Fiona, who hails from Scotland, had a gothic aesthetic with black clothing, bats, and dyed black and blue hair, making her the first person the band considered to be a goth.
Huwe acknowledges the long-standing connection between Xmal Deutschland and the subculture, but she no longer feels a strong connection to it. She explains, “Things are very different now. It’s highly commercialized, particularly in Germany. There are massive events with crowds of thousands, it’s all about making money.”
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After their album “Tocsin,” the band left 4AD and began searching for a major label. In 1987, they released “Viva” under Phonogram, but even with support from touring with the Stranglers, the band did not achieve the same success as other groups with a comparable, albeit more mainstream, sound. According to Huwe, this was due to the increasing competition, as their label also had successful artists like The Mission and All About Eve who were receiving more chart recognition.
In 1989, the band’s last album, “Devils,” was released and the group disbanded in the following year. According to Huwe, their strong personalities may have hindered their potential for widespread success. She reflects, “We never took advice from anyone; we were content with ourselves. We created music simply for enjoyment. Eventually, we reached a point where we needed someone to remind us that being in a band was a job and many people relied on us. Unfortunately, no one was there to do so.”
In the 1990s, Huwe took a break from music to explore other interests in broadcasting and visual art. However, in 2020, her inspiration was rekindled when a fan requested for her to add vocals to an original track. After liking the song, Huwe sent it to her old friend Mur for a second opinion. This marked the beginning of creating an entire album. “Anja is someone who needs to be completely convinced and inspired by her work, and I am the same,” says Mur. This album, called “Codes”, is now Huwe’s first solo release. It has a darker tone and is more heavily influenced by industrial and synth music, although Rickers still features on guitar.
Huwe remembers the doubters who believed Xmal Deutschland received a contract in London simply because they were a female band. She acknowledges that this was unusual, but to them it felt normal as they were all good friends and gender didn’t matter. Of course, there were always individuals who made comments like, “Let’s see how well they can actually play…” But the band decided to take a chance and play loudly and boldly to prove their talent.
Source: theguardian.com
