The Gift That Keeps on Giving: Exploring Xmal Deutschland’s 4AD Era

German goth band Xmal Deutschland in Hamburg, 1987 (Credit: Kevin Cummins)

Xmal Deutschland was never the crown jewel in 4AD’s black-hearted imperial reign during the ‘80s. Lacking the crossover appeal of the Pixies, ethereal mystery of Cocteau Twins, and globetrotting expansiveness of Dead Can Dance, it is easy to write off the dark German post-punk band as a Siouxsie and the Banshees knock-off. However, Gift (The 4AD Years),—released May 9—which collects the two albums Xmal Deutschland recorded with the storied label, along with a third LP of selected tracks, seeks to set the story straight.Emerging from Germany’s Neue Deutsche Welle, a movement featuring post-punk and new wave, Xmal Deutschland began as an all-female band in 1980. After some lineup shuffling, a well-received single (“Incubus Succubus”) and exposure in the U.K. while opening for Cocteau Twins, Xmal Deutschland signed with 4AD, resulting in the LPs Fetisch (1983) and Tocsin (1984). Both albums charted with independent British listeners, and Tocsin not only topped the indie chart but hit No. 86 on the U.K.’s mainstream chart for a brief period, despite most of the lyrics being in German.

Of the two records, Fetisch is less traditional in its song structures, leaning more heavily on atmospherics similar to those used by labelmates Bauhaus. Produced by 4AD founder Ivo Watts-Russell, this collection of danceable post-punk tracks gives off an ominous air. Vocalist Anja Huwe sounds like a Teutonic version of Siouxsie Sioux as she yelps over the dense opening track “Qual” and more menacing selections such as “Young Man.” Yet, Huwe’s vocals are colder, more detached than Siouxsie’s, and Manuela Zwingmann’s drum patterns are more rigid and martial than the Banshees, referencing krautrock and industrial. Maneula Rickers’ guitars are moodier and less melodic, leaning towards the wild experimentation of Einstürzende Neubauten.

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Tocsin is more accessible. Producer Mick Glossop (Magazine, Ruts) stepped in for Watts-Russell, and Peter Bellendir replaced Zwingmann. Finding the perfect balance between goth and the sonic sweep of Cocteau Twins, Tocsin sounds cleaner than its predecessor with more layering and reverb. The record also takes a step away from the industrial sound of Fetisch and points more towards darkwave and gothic pop. Huwe’s vocals also move from their prior punk sound and become richer in melodic drama.

Opening track “Mondlicht” is glacial and lush, less sharp-edged than prior work, while the swirling “Reigen” is hypnotic enough to fit in during any goth dance party. Darkness still runs through Toscin but the songs feel less claustrophobic and more inviting than those on Fetisch.

Gift features brand new Abbey Road remasters of these two records, which have been long out of print. Included on the third LP is “Incubus Succubus II,” a reworking of Xmal Deutschland’s early single and tracks from the Qual EP. Though Watts-Russell, unhappy with the emergence of Xmal Deutschland’s more commercial sound, would decide against making a third LP with the band, the music on Gift proves that Xmal Deutschland was more than a Siouxie and the Banshees knockoff. Instead, they created essential music, and Gift is highly recommended for those who love the bigger names in the 4AD stable.

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