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F.F.F. - die Presse

TILT - Nr. 6 - 1990

Dieses Fanzine kam aus Belgien und wurde komplett in Englisch geschrieben. Herausgeber dieses in A5 Format kopierten Zines war Bart Vanbrabandt aus Gent.

Das Heft ist zwar im Schnipsellayout erstellt worden, aber trotzdem sehr übersichtlich geblieben und wirklich randvoll mit Interviews und Reviews, Aufsätzen bzw. Columnen.

What common grounds did the people who formed FFF have at that time? What holds you together nowadays?

Andi: We formed FFF 'cause we were friends and wanted to make music. As we are still friends and we still wanna make music, we still play together. We've some problems nowadays because Dolly lives in Canada most of the time and we have only 3 or 4 months a year to make concerts but that's no reason not to play when we have the possibility.

Dominik: For us it was and is more important to have the same views on music, create our own style and have the same feeling than being popular. For us the band is much more than 4 people coming together twice a week to play because each person plays an Instrument.

What kind of studies/work/... do you people do? Is having a fulltime job (for a 'boss') to be condemned? Can you think of any usefull/interesting/satisfying /.. Jobs?

Dominik: Nobody works. Andy, Vladi and me study various subjects. Dolly has no Job, she doesn't exactly know what she wants to do. Work is only satisfying if you like it very much. Being a musician would be a good Job but I don't want to play boring shit In order to be able to make a living of music.

Andy: Vladi studies electro-technics, Dominik learns about social work and I study political sciences. Vladi you come from Chile..

Do you follow the sociopolitical Situation in your (ex-) country? Can you tell us a bit about it?

Vladi: Now that Pinochet isn't president anymore, the whole political situation is "a little bit more democratic". The people can vote but the ex-dictator is still the man In power. He's still in charge of the army and the police and lt he wants to, he can stop everything the parliament decides. No-one can be charged for human rights-violations commited during the dictators.... I don't exactly know what the situation is like right now because I haven't been in Chile for a long time and here in Germany Information about the country is rare nowadays.

Was putting out your album on your own label a necessity or an ideological choice?

Dominik: We wanted to put out a record we can identify with and...

Andi: ... There was nobody also who wanted to release the master-tape we already recorded on our conditions. So we released it on our own label.

Dominik: I already had bad experiences with so called Independent labels with my former band. I think it is better to sell less records and get back maybe only the money you've put into it, than to see others (people you can't identify with) making big cash of you. We are very satisfied with our album, we wanted our first to be really good and that's why we waited 6 years before putting out an LP. (Brob: the album is excellent!)

What do you think of the evolution of the german HC-scene? What can we do about the fact that people only wanna see big (wellknown) bands - preferably from the US - and arenīt interested In decent european bands? Why is it (hat most people who are organizing tours run everything so commercial/unaltemative? What's the Influence of mags such as ZAP or TRUST?

Andi: The general evolutlon is that the scene is going in a "professional" direction. There are more and more clubs where HC-bands can play and where you have to pay higher prices than in squats or youth centers. All the things you mention work together: a tot of people are Interested in US-bands and these are interested in commercial organization and these want to make money. If you read ZAP, you'll find Interviews with the "HC-gods from New York" or things Iike that and that has a big influence on a tot of people. I don't know what to do to make people change their minds... Probably just show that you neednït be a US "HC-god" to make good music but I sometimes think that the little mark "from the USA" is more important than playing good music. That's sad but there is no way to change people if they think that's OK and if there is the request for these bands and people accept the prices, why shouldn't people organize things in a "commercial" way? (Brob: Because they are slowly killing the alternative scene that way!) It is an easy way to earn their living. Luckily there are still people who do it differently you or the people from the Mauritiuswall In Cologne, people from a lot of youth clubs, Luca in Torino who organized 5 gigs in Italy for us and a lot of others. I'd like to thank them all here. We - as a band - try to organize everything on our own, without a manager or so - even it is hard work and you need lots of friends everywhere to help you. Maybe that is a way to stop this evolution...

Dominik: ZAP and TRUST have a very big influence. 9 years from now, the scene was totally different: german bands were very popular and only a few US-bands came to Germany. There were only a handfull of german bands that had english lyrics and people wanted to hear german. Now its totally the opposite: the more american a german band appears to be, the better their chance is to get good critics in ZAP or TRUST and as everyone knows about their big influence, bands copy every new "trend" from the States that is written about in these magazines. German punk lost its own identity. Punk was about individuality against trends, about finding your own identity, about solidarity and against rock-idols and commercial attitudes. The whole scene is going the opposite way. I've talked to many people about this problem and it is the same all over Europe. The people care less for their own scene and it gets harder and harder to get concerts for a local unknown band. Luckily we know a lot of people alter the 8 years we play together but it is really a problem because every american band comes to Europa since they have much better conditions, audiences and more money here compared to the US. Many of the US bands haven't even toured In the States yet, no-one knows them there but they come here and they are the stars from the US (that's what they say themselves). We're not against the bands but against the guys that make cash out of the stupidity of the people that believe "US-HC = good" and "lokal bands = shit"; an attitude that is spread by not only the mentioned fanzines.

Have you played in the ex-DDR? Howīs the scene there?

Andi: As we only played in Erfurt and Jena, we only know about the scenes there. We (and the people there too, I suppose) had a lot of tun at these shows but people generally listened to old german punkrock like SLIME, DAILY TERROR or CANAL TERROR. Sometimes it seemed that they hadn't heard the music we play before.

Dominik: ... Or HC in general. Also the bands we played with from the area played this typical german 81 punk-sound and the people also dress this way. There is supposed to be much trouble with fascist skins, especially in Jena. Most of the people that come to punk shows only go in groups and are armed with gas, knives.... We were also told not to leave the car in front of the place because sometimes the skins would put cars on fire or cut the tires. Andi: This was only in Weimar...

Dominik: We had no problems.

Andl: Organizing the gigs was a problem because it is very hard to phone people there. Most of them don't have a telephone. When we arrived there (Erfurt), nobody knew that we were supposed to play. They organized a concert for the following day and it was really good.

The most used language in the international HC-scene is english. You, who sing in german, do you see that as cultural imperialism? Do you think that people who talk english and donīt understand german, should make an effort and try to understand you in your own motherlanguage?

Andi: The growing use of english words in other languages (not especially in the HC-scene; think of computers e.g.) is cultural imperialism. On the other hand different languages are a barriers between people and using one language that alot of people understand, makes it easier to be understood by everybody. There can be a problem e.g. in lyrics written in english by people who's motherlanguage is not english... I think itīs better to express yourself In your motherlanguage. That's a bit generalizing but itīs more or less true. By the way, do you understand everything people sing (even if you know the language) if you haven't heard the song before? On lyric sheets it's possible to write in two languages. As I study 2 languages (italian & spanish), I'm convinced that it's always good to try to understand another's motherlanguage.

'No Paseran' for the yankees... What about the gulf-crisis? Do you see Hussein as a potential second Hitler? Isn't there more at stake than the control over the oil-supply??

Andi: As I answer this question 4 months after the end of the gulf-war, itīs easier because we see the results of this war. Hussein is still in power, Kuwait is free (and burning) and Iraq is destroyed. Business as usual can continue. We had a lot of commercials for american weapons on TV. I don't think that there was more at stake than the control over the oil-supply. None of the problems that should've been solved, have been solved except one: the Emir of Kuwait is back.

How would you try to stop racism? By forbidding all racist propaganda/actions a d dismantling alt racist/fascist organizations or by encouraging the integration of emigrants or what?

Andi: Well, forbidding is no solution. Just look at the ex-DDR: after 40 years of official internationalism and "solidarity with everybody", you have a growing racism there, even more than over here. There is no easy way to solve this problem. All you can do is remembering people that in spite of the differences in language, colour of skin, culture and so on, everybody is a human being. The fact that you're born here or there is just a coincidence which doesn't make you better than another human being or your parents.

Dominik: Racism is a question of tolerance. If people were educated towards being more tolerant about other ways of thinking, colour of skin and appearance and were more openminded, there would not be so much troubles. People Just are not aware of different cultures, their rites and their ideas; that's why they're afraid and feel threatened by what they can not understand. Racism reduces thinking for your own and looks for easy solutions, things are easily divided In good or bad. That's why itīs so popular.

"Legalizing drugs will get it out of criminal spheres." Your idea?

Andi: At least not legalizing drugs hasn't solved the problem. I don't really understand why itīs no crime to drink alcohol but it is to smoke joints or take other drugs.

Dominik: The society is the problem; if everyone was reality free and happy and we lived in a human society, people wouldn't want to escape. Users of hard drugs are addicts, not criminals but they need a lot of money for their drugs. They are forced to do criminals things as long as the prices remain that high. If one could buy it in pharmacies for low prices, the big dealers wouldn't make any profits and there would be less criminality. I don't know if it would be a good idea to legalize all drugs but nobody would do them just because it is forbidden.


These were some ideas of the people in FFF (Fanatike Feinde des Fascismus - Fanatic Enemies of Fascism), a longlasting german band that combines power and originality. Their music is - and Iīm not exaggerating - fantastic. If you want to order their album or just write, here's the address FFF ...etc. Bonn, Germany. FFF are: Dolly (vocals/electric violin) Andi (bass) Vladi (guitar) Dominik (drums/voc.)