In this robbers' cave lives Krawallmädchen with her heap of old synthesisers and toys. The beeps, squeals and racket of her junk are accompanied by puppets, and for special occasions, such as the City of Women Festival, the Bear also climbs slowly on stage, hardly able to follow the rhythms dictated by unpredictable accelerations of the old rhythm-machines.
With her kitsch-glamour approach, Krawallmädchen touches on the disco of the eighties, and pays homage to glam-metal from the same period through her lyrics. A non-squeamish, yet cunning collage of frequently abused melodies, rhythms and speech forms set Räuberhöhle alongside the plays of many modern "trash" electronic musicians. This is a German-American collaboration between the publisher and the Chicks on Speed trio, a Berlin-based female descendant of the Digital Hardcore collective and an American cast supported by Mr. Ladyrecord label. These references are not only musical, but also political, and provide the best description of the duo Räuberhöhle from Berlin.
One can sense the dislike of exaggerated intellectualism of feminist theories and an equally strong dislike of professionalism and the importance the music industry attributes to authorship. The caustic "riot girrrl" humour, DIY production, use of outdated technologies, free accessibility through web pages http://www.megapeng.net/engraubi.html, as well as the violation of copyright by sampling already existent products, and, of course, anonymity: all these things are characteristic of Krawallmädchen, maybe best summarised in the cry: "Kickericki, Ich bin die Anarchie!"
Tea Hvala
