“All night long I listened to that sound…”
“The Sound of Money!”
It’s the 50th anniversary of the Summer of Love this year – and Munich’s The Sound of Money are tackling it with a rather peculiar album concept in order to finally come to terms with this pop decade of all pop decades: They made anagrams out of the titles of their favourite 60s albums - and out came a whole dozen of new song titles...
WHO IS TH€ $OUND OF MON€¥?
Naturally, a band called TH€ $OUND OF MON€¥ must always be about exchange. In the case of their forthcoming album, entitled “More? Why Not! – An Anagrammatic Exorcism of the 60s”, the emphasis is on exchange of letters – and, consequently, also of the identities of its members:
SILKE AURA ACID has been a veteran of the early 90s Munich Acid House and Techno scene – probably most legendary for accidentally burning down DJ Hell’s record collection in 1991 – and since been a resident DJ, clothes and jewelry designer on the isle of Goa with her own brand “Ultra Aura”. With TH€ $OUND OF MON€¥, she is re-inventing herself by the anagram of CLAUDIA KAISER, former lead singer and songwriter of Munich’s very first all-girl band DIE MOULINETTES, a nice little success act in the late 90s, especially in Italy and Japan (as trenchantly described in her own book “Rocken und Hosen”). Kaiser has chosen for herself the character of the dignified pop songstress, a bit in the Nico vein, but without the junkie bullshit.
- see her very own spotify playlist mix of the must-have 60s albums according to The Sound Of Money.
B.R. ÖLSPACHTEL, the internationally acclaimed master painter in the Big-Heavy-German-Oil-On-Canvas tradition of Markus Lüppertz, A.R. Penck and the likes, has stunned the world with awe-inspiring, archaic works like “Schwere Genitalien”/”Heavy Genitals” (1989), “Das Drehkreuz/ The Revolving Cross” (1994) or “Ernte I-XXIII/Harvest I-XXIII” (2005-8). His trademark: Mixing colours with his own vomit. He has anagrammized himself into TH€ $OUND OF MON€¥ as ALBERT PÖSCHL, endlessly productive mastermind of Munich’s underground-across-all-genres record label Echokammer, a genius reckless in every respect, and especially so towards his audience. Yes, success has brushed Pöschl once in a while (as with the ur-Electcroclash outfits QUEEN OF JAPAN or DISKA), but he didn’t let it harm him.
- see his spotify playlist mix of favourite 60s albums
ALTKLEIDER, INC. is the name of a notoriously subversive international fashion and art collective, attacking the public attention guerilla-like with semiotic nuclear bombs like their bold collection “Ja, so Kennedy”, crossbreeding the timelessly hip 60s vintage Mad Men aesthetics with equally timeless Bavarian folk dress, which indirectly caused the infamously rampant “Mods vs. Milk farmers” riot at the Munich Oktoberfest 2003. One of their members now has stepped out of the MR. ALTKLEIDER, INC.’s self-imposed anonymity to join TH€ $OUND OF MON€¥ under the anagram name of MARTIN LICKLEDER – his persona being the unstoppable amateur enthusiast and would-be one-man disco orchestra, playing, rhyming and dancing along with every 2-cent band that can’t get away fast enough, among them more or less known Munich household names like DIE MOULINETTES, SUZIE TRIO or OKTOBER FOLK CLUB.
- see his spotify playlist mix of the 60s albums you shouldn't miss.
SAKRA DEL FIRENZE was a cultishly revered scream queen in Italian B and C movies of the hugely obscure post-Giallo era in the late 80s and 90s. Her wide open eyes and gaping mouth were steady assets of VHS treasure chests of postmodern gore such as “Risorgimento Sarcastico”/”Kill, Garibaldi, Kill!” (1989), “Una Lucertola con la Pelle di Donna Pt. 2”/“Slasher Without A Cause” (1992), or “Trema!”/”Shudder to Death” (1994). After a longer stint behind the camera – which gained her the title “Only camerawoman on Earth to film the pope on his way to the toilet” – SAKRA DEL FIRENZE has relocated to Munich, the self-acclaimed “most Northern city of Italy”. From there, she is now finally returning into the limelight with TH€ $OUND OF MON€¥ as FRANZISKA ERDLE: Embodying the never-screaming drummer and percussionist, providing her effortlessly professional session skills to various high-profile Munich bands as TRISKA or BUTTERSIDE DOWN.