DAS KABINETTE - SPY THRILLER

Today, a few words about an album that wasn’t released when it should have been. Had it come out at the right time, it would probably be mentioned today in lists of the more interesting albums of the early 1980s. Maybe not at the top, but it would easily land somewhere in the second fifty. Unfortunately, the recordings (and specifically in this album format) didn’t see the light of day until more than two decades after they were made. Because of that, it would be hard for me to pretend that I first heard Spy Thriller in 1983 and was blown away by its freshness and innovation. That simply wasn’t the case. But truly, there’s wisdom in the saying “better late than never”. Thanks to Veronica Vasicka - an American photographer, DJ, and founder/owner of the independent label Minimal Wave Records - we can now take a trip back in time and enjoy the discovery of original material from the era. Since its founding in 2005, Minimal Wave Records has done invaluable work in the field of historical reconstruction, rediscovering hidden gems from the late ’70s and early ’80s. I believe that both Vasicka herself and some of the more interesting releases from the MWR catalog will be featured in at least a few more texts here on Corroded Sounds.

Das Kabinette is almost a flagship representative of the movement, phenomenon, or genre (?) that emerged from the brief post-punk moment of the late 1970s and early 1980s. A movement shaped by like-minded musicians working in home studios scattered across virtually all of Europe. The band’s history dates back to 1981, when three friends from Blackpool Art College - Michael Hall, David Bracher, and Craig Hemmings - who shared musical interests, decided to turn their "pub discussions until dawn" into action. Very quickly, their dorm room filled up with music gear, and the group made their debut on the local music scene with the single “The Cabinet” / “Fudge It”. The title track was directly inspired by the 1920 film The Cabinet of Dr. Caligari. This twisted tale of madness was evocative enough to serve as the basis for a rather successful song. The single was self-released in a run of 500 copies under their own label, Klosette Records. The B-side, “Fudge It,” was essentially a different mix of “The Cabinet”. A kind of promotional “double impact”, let’s say... A rhythmic, catchy, and danceable synth track in two versions became something of an “underground hit”, and it did indeed get a lot of club play. The single also made its way to the BBC. However, as one might expect, despite a few spins on Radio 1, it didn’t make much of a splash. Such a pity, actually. Eventually convinced that success simply wasn’t in the cards for them, the boys turned to their professional careers, treating music purely as a hobby. Through a college friend - who at the time happened to be dating Gary Numan (and who, incidentally, appeared in the amateur video for “The Cabinet”) - they took up an invitation to record at Rock City Studios in Shepperton, which was the early base for Numan’s own label, Numa Records. It was from there, and from a few sporadic recording sessions that lasted until 1986, that the rest of the material for Spy Thriller originates - sessions for the album Sexual Desert, which ultimately was never released.

As their electronic arsenal grew, along with the use of new recording techniques and samplers, the guys eventually felt they had drifted so far from the identity, spirit, and aesthetic of Das Kabinette that they decided to bring the project to an end. However, their love for making music - and their friendship - endured. So they continued their creative journey under a new name: Dangerous Ground. This incarnation of the Blackpool trio released three singles on their own label, DG Records, distributed by Rough Trade. Music videos were made for the tracks, including “Big Fun”, which received multiple airings on MTV. The group also made an appearance on Radio Luxembourg and recorded material for a full-length album titled The Pleasure & the Pain, which (yes, you guessed it) remains unreleased to this day. And that could have been the actual end of the story - if not for the fact that Mick and Dave continue to record solo and as a duo under the enigmatic name Mutant Suits. Naturally, they do this purely for the joy of creating music, something that has never stopped fascinating them. As noted in the blurb on the Minimal Wave Records website, the three original members of Das Kabinette are still best friends and, on weekends, can regularly be found in pubs indulging in their other shared hobby: drinking juice and “discussions until dawn”.

Returning to Das Kabinette and Spy Thriller, what we have here is a classic example of the sound of the movement, phenomenon, or genre (?) commonly referred to as minimal wave. I'd lean toward calling it a phenomenon, as it emerged directly from the creative process being shaped by limited equipment and the constraints that came with it. As someone once aptly put it, it was “synth-pop for the poor” or “new wave for the broke” 😊. The drive to write songs and record albums at any cost - without money and without any real hope of getting them released - was the main engine powering young people scattered all over Europe, particularly in the UK, the Benelux countries, West Germany, and Scandinavia. We also can’t ignore the overseas wave coming from the U.S. and Canada. I’m convinced that hundreds - if not thousands - of interesting tapes are still waiting to be discovered and brought to light. Against that backdrop of bands no one’s ever heard of, Das Kabinette is almost a cult act, and Spy Thriller is the essence of that cult sound. The crème de la crème, the cherry on top. Eight tracks - or rather seven and an intro… or better yet, six tracks, an intro, and a remix. Thirty-two minutes of condensed, synth-driven, robotic ride.

After a brief instrumental intro, “The Cabinet” kicks in. A captivating, hypnotic motif built on just three chords - straight out of the formula for a punk hit - featuring analog low-end, hiss and whirring noises, a trance-like drum machine, and a simple, clear melody. Add to that a detached, cold, almost dehumanized vocal delivery and a well-played guitar solo, and it becomes clear why this track was such a club favorite. “Passionkiller” is a very intriguing composition based around two chords and a rhythmic groove. The bass guitar moves in interesting, non-obvious patterns, while a flamenco-styled acoustic guitar and female vocals create a truly evocative atmosphere. The moody “Something’s On Your Mind” is carried by the singer’s confident vocal, but the real star in the background is once again the bass line - paired with the unmistakable presence of the Roland CR-78 drum machine, practically omnipresent in the '80s. And yes, you're not imagining it - that's the same preset pattern OMD used in “Red Frame/White Light”: the factory-set "Rhumba" rhythm. Just at a slower tempo. “Next In Line” echoes early The Human League, and by the end, even directly quotes Ultravox’s “Alles Klar”. “The Evil Of His Kiss” could easily have been another dancefloor killer if the chorus and production had been given a bit more attention. Once again, the guitar work toward the end stands out. The title track, “Spy Thriller”, plays like a cinematic instrumental - something that could score a film starring a James Bond-type lead character. The final track, “Fudge It”, is - as previously mentioned - essentially a “The Cabinet Remix Reprise”.

Personally, I’m very enthusiastic about this album. Maybe it’s because I feel as if I’ve truly traveled back in time - just under slightly different circumstances. Unlike well-known records that always bring back memories or carry some imprint of the past, Spy Thriller doesn’t evoke any specific nostalgia. It feels archaic, yet at the same time, fresh. It’s as if I were a teenager again, hearing an exciting new band at the very beginning of their journey. That said, I completely understand if this kind of music doesn’t stir any emotions in listeners today. For me, it’s the kind of “missed album” - but not in the sense of a record that existed and was forgotten. Quite the opposite: it’s an album that technically never existed… and yet, somehow, it did 😊. A true artifact of a bygone era - an era marked by genuine passion and the untapped potential of Das Kabinette.

Robert Marciniak

12.10.2025