Austrian national XAO SEFFCHEQUE was at the right place at the righttime: Dusseldorf at the end of the 70s was not only the nucleus ofGerman punk but also enjoyed a fruitful symbiosis with the paralleldevelopment of a synthesizersupported sideline. However in historicalretrospective forty years after the punk bigbang and 35 years after theelectronic substituterevolution in Germany there is the question: Whatimpact did PALAIS SCHAUMBURG DAF LIAISONS DANGEREUSESor DER PLAN expect from their music Objet dart Material forarchaeologists rummaging around for the mindset of our age undercontaminated rubble Xao Seffcheques music same same but differentlater on with FAMILY*5 was all that and more: always great everydaystuff to listen to still the object of engagement and discourse because ofits impact and the marks it left behind. And only now we begin to find outthat Xaos music is so much less fashionable than really and agelesslymodern.The compilation at hand Xao Seffcheques electronic phase in the early80s from both his albums SEHR GUT KOMMT SEHR GUT (1980) andJA NEIN VIELLEICHT (1981) (plus unreleased Tracks from 1982)comes in two parts: The songs of SEHR GUT KOMMT SEHR GUT arealways satire persiflage paraphrase altogether: Reflecting hiscontemporaries with 80s analogue equipment this discourse alwaysadds something new and unheard of. The fact that Seffcheque releasedthat (fake) album as an anticipation of the NEUE DEUTSCHE WELLEsellout did shape those songs audibly by deconstructing the music ofessential German bands at that time in order to reassemble them in avery sarcastic way into a whole new context. Whereas the followingalbum JA NEIN VIELLEICHT was of a very different kind andDiederich Diederichsen Master and PopeofPop had this to say aboutSeffchequesSequencermeetsjazzonomatopoeticscatvocalsmeetguitarriffs in SOUNDS Magazine:Xao Seffcheque has made his first music record without any jokesquotations and Kulturkritik. Music instead of Cabaret ... with anexcellent brass section and vocal effects: A winningly distorted LouisArmstrong song a modern marchfunkpogo piece with scat vocals of adigital age ethereous intense experiments (in the title song Xao pleaseswith foreign stammering and in DuIch with a girls choir from the nextbest solar system). In brief: a very modern record bordering on Rock an d Disco. Defiant. Sorrowful. Tough."2017: BUREAU B releases a completely restored and remastered (TomMorgenstern) compilation of Xaos best songs from his solo phase;Coverphoto by Richie Gleim taken during one of the original recordingsessions in 1981: furious nonchalance regardlessoftheconsequenceslunacy and indestructible musical talent. The spirit of that time.