Nothing New But Abortive Gasp
„Nothing New But 'Abortive Gasp'" portrays the short-lived, controversial Hamburg electro-industrial band Abortive Gasp (1987-1989). Founded by Harry Luehr (instruments) and Tim Paal (vocals) with rotating guests, they stood out for their high improvisation - unusual in the electronic scene. Their sound mixed early dub, parodies of Front 242/Ministry, and ironic-anarchic elements. As „Hamburg Bunker Bands" (with Girls Under Glass), they played clubs like Kir or Stairways near the Schanzenviertel Flakbunker - a refuge from scene hostility.
The name „Abortive Gasp" (antinatalist undertones) triggered constant debates as an alleged attack on family norms, though the band never took an explicit stance on abortion. Harry Luehr later: „The name can be programmatic, but it was more a vague premonition of our future paths." Childlessness was viewed as failure in the late 80s; today it's normal (career, pets, free sexuality as balance).
Their openly apolitical attitude - „We don't need any moral standards!" - isolated them in left-leaning Hamburg indie circles; international supporters (Don Campau, Brian Duguid) were more open. Despite provocations, it ended in 1989: Final gig supporting Borghesia at Kir. „End, out, over … Break successfully completed."
The feature contrasts the era's taboo-breaking openness (Skinny Puppy, Marilyn Manson hailed as subversive) with today's sensitivity: Creative edge now only accepted with „clean" political alignment - exactly what Abortive Gasp refused. It illuminates the left's shift toward state reconciliation, rising sex-negativity in progressive spaces, and why apolitical-provocative art barely survives today - especially in Gothic/Darkwave scenes demanding explicit stances.
This is the English version as primary/supplementary chapter; the German version („Nichts Neues außer 'Abortive Gasp'") precedes it as the first chapter.
„Nothing New But 'Abortive Gasp'" portrays the short-lived, controversial Hamburg electro-industrial band Abortive Gasp (1987-1989). Founded by Harry Luehr (instruments) and Tim Paal (vocals) with rotating guests, they stood out for their high improvisation - unusual in the electronic scene. Their sound mixed early dub, parodies of Front 242/Ministry, and ironic-anarchic elements. As „Hamburg Bunker Bands" (with Girls Under Glass), they played clubs like Kir or Stairways near the Schanzenviertel Flakbunker - a refuge from scene hostility.
The name „Abortive Gasp" (antinatalist undertones) triggered constant debates as an alleged attack on family norms, though the band never took an explicit stance on abortion. Harry Luehr later: „The name can be programmatic, but it was more a vague premonition of our future paths." Childlessness was viewed as failure in the late 80s; today it's normal (career, pets, free sexuality as balance).
Their openly apolitical attitude - „We don't need any moral standards!" - isolated them in left-leaning Hamburg indie circles; international supporters (Don Campau, Brian Duguid) were more open. Despite provocations, it ended in 1989: Final gig supporting Borghesia at Kir. „End, out, over … Break successfully completed."
The feature contrasts the era's taboo-breaking openness (Skinny Puppy, Marilyn Manson hailed as subversive) with today's sensitivity: Creative edge now only accepted with „clean" political alignment - exactly what Abortive Gasp refused. It illuminates the left's shift toward state reconciliation, rising sex-negativity in progressive spaces, and why apolitical-provocative art barely survives today - especially in Gothic/Darkwave scenes demanding explicit stances.
This is the English version as primary/supplementary chapter; the German version („Nichts Neues außer 'Abortive Gasp'") precedes it as the first chapter.
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„Nothing New But 'Abortive Gasp'" portrays the short-lived, controversial Hamburg electro-industrial band Abortive Gasp (1987-1989). Founded by Harry Luehr (instruments) and Tim Paal (vocals) with rotating guests, they stood out for their high improvisation - unusual in the electronic scene. Their sound mixed early dub, parodies of Front 242/Ministry, and ironic-anarchic elements. As „Hamburg Bunker Bands" (with Girls Under Glass), they played clubs like Kir or Stairways near the Schanzenviertel Flakbunker - a refuge from scene hostility.
The name „Abortive Gasp" (antinatalist undertones) triggered constant debates as an alleged attack on family norms, though the band never took an explicit stance on abortion. Harry Luehr later: „The name can be programmatic, but it was more a vague premonition of our future paths." Childlessness was viewed as failure in the late 80s; today it's normal (career, pets, free sexuality as balance).
Their openly apolitical attitude - „We don't need any moral standards!" - isolated them in left-leaning Hamburg indie circles; international supporters (Don Campau, Brian Duguid) were more open. Despite provocations, it ended in 1989: Final gig supporting Borghesia at Kir. „End, out, over … Break successfully completed."
The feature contrasts the era's taboo-breaking openness (Skinny Puppy, Marilyn Manson hailed as subversive) with today's sensitivity: Creative edge now only accepted with „clean" political alignment - exactly what Abortive Gasp refused. It illuminates the left's shift toward state reconciliation, rising sex-negativity in progressive spaces, and why apolitical-provocative art barely survives today - especially in Gothic/Darkwave scenes demanding explicit stances.
This is the English version as primary/supplementary chapter; the German version („Nichts Neues außer 'Abortive Gasp'") precedes it as the first chapter.
