Stricher - Stricher (1982)

Only album by this german post-punk band on Rio Reiser's label David Volksmund Produktionen (which released especially in the early 80s some good bands/records).

Stricher were founded in Berlin by Helmut Schweiker, Jan Selber, Jochen Hansen, Maike Christiansen and Siewert Johannsen and their record was produced by Rio Reiser. The LP is extremely hard to find and is nowadays a little expensive when you hold it in your hands. Musically, the band offers a consistantly good mix between punk, new wave and dark rock. It is the healthy mix of melancholic songs and hard numbers without being monotonous. Really a great record.

http://depositfiles.com/files/wotxg4sz5

Zatopek - Zatopek (1983)

NDW band Zatopek one and only LP released in 1983. Jazz-funk-ska new wave

http://depositfiles.com/files/l02s6wdq6

Neonbabies - 1983 (1983)

Third and last LP by NDW band Neonbabies. More pop material here.

http://depositfiles.com/files/r4n5l904x

Neonbabies - Harmlos (1982)

Second LP by NDW band Neonbabies

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Neonbabies - Neonbabies (1981)

Neue Deutsche Welle Neonbabies debut LP.

http://depositfiles.com/files/kin63k5na

Robin Lane and The Chartbusters - S/T (1980)

     Even if Robin Lane & the Chartbusters' self-titled 1980 debut album didn't quite meet the expectations of the band and their rabid Boston following, it did capture their blend of new wave pop with dynamic folk-rockish guitar lines for the first time on a widely distributed national release. At the fore were singer-songwriter Lane's own husky vocals, delivering songs that for all their melodic hooks were tinged with far greater darkness and ambivalence than most pop-rock of the time, new wave or otherwise.

   Although Robin Lane & the Chartbusters was Lane's first album, she had actually been active as a singer-songwriter for about a decade. Back in 1969 she had sung backup vocals on "Round and Round" on Neil Young's classic Everybody Knows This Is Nowhere. In the 1970s she left California to move East, and only a little prior to hooking up with the Chartbusters, she'd been playing far mellower, folk-rock-aligned singer-songwriter material. Those were the kinds of songs she was doing when she got a deal with Private Stock, Blondie's first label.

    Soon afterward, a newfound love for acts like Patti Smith, Television, the Clash, the Sex Pistols, Talking Heads, Tom Petty, Cheap Trick, and Dwight Twilley sent her own music into a much different path. Hanging out with Boston bands like the Real Kids and at the legendary local venue the Rat got her in touch with most of the musicians who would become the Chartbusters: guitarist-vocalists (and ex-Modern Lovers) Asa Brebner and Leroy Radcliffe, bassist-vocalist Scott Baerenwald, and drummer Tim Jackson. "I put this other band together and actually enticed them to be my bandmates, because I had this deal with Private Stock," remembers Lane. "And then about a month or two later, Private Stock folded. So I had my new band and new direction."

http://depositfiles.com/files/truzt978l

Family Fodder - All Styles (1983)

Family Fodder was less a band than a never-ending collective of musicians messing with tapes in the basement of a London flat...

In 1983, Pearce borrowed some of the band's record advance money from their new label, Fresh, to fund another project's tour. The resulting album, All Styles, came out of these diminished funds and was scratchy, ill planned, and home-recorded. It sold only about 100 copies when released.

A double album, "All styles", released in 1983, a record on which every song is meant to represent a particular musical style (progressive, folk, classic, funk, jazz, punk...) with a new sound (cleaner, with more synths), and Michel Legrand and Kurt Weill covers. Great work!

http://depositfiles.com/files/tnsui9g3h