What are the best gay hop tracks

The following list is sorted chronologically and first appeared in the German rap special of the November issue of Musikexpress. Including German rap quartet! In it we reveal the 30 other best German rap records. But gradually also online:

Rödelheim Hartreim project

Straight from Rödelheim (1994)

In the year two after “Die da!?!” By Die Fantastischen Vier a few hundred kilometers further north in the state of Hesse, Thomas H. and Moses P. as Rödelheim Hartreim Projekt made it unmistakably clear that German rap is more than just pop antics about polyamory should. From Frankfurt am Main, the duo brought brutal Battlerap, which was unique in its tonality and linguistic variance (there was multilingual street slang a la Chabo already 20 years before the arrest warrant). Flappy, blunt rapeseed on the one hand, on the other hand, the foundation stone for the 3P sound that is typical to this day was laid by Moses Pelham's preference for genuine and warm instrumentation. (Jan Wehn)

Fish mob

Men Can't Show His Feelings (1995)

Only at first glance could one misunderstand Fischmob after their participation in Fettes Brot '"Nordisch By Nature" as another Hamburg fun rap formation. Behind “Bonanzarad” escapades with wandering guitars, Wum-und-Wendelin elevator jazz and hashtag-compatible slogans (#fickmeingehirn), the quartet offers surprisingly rough insights into the world of those who have nothing more to lose - or at least believe that for one night. Prolls, Alkis and Kiezkneipen-Dudes get a vote as well as the rapist and his victim in the depressing "4 ′ 55" "and the station homeless in" You call me a bum ". More reflective than many of his contemporaries, DJ Koze (yes, that one!), Cosmic DJ, Der terrible Sven and DJ Stachy commute between satire, cynicism and brazen pun, looking back on the time when crossover was not yet a very dirty word and justify German by the way TripHop. (Ralf Theil)

The fantastic Four

Drugs (1995)

To mention the words “Die Fantastischen Vier” and “HipHop” in one sentence is really not that easy in 2016. Other associations come much faster. The fact that Fanta 4 is still practicing a kind of spoken song even 30 years after it was founded doesn't change that much. In 1995 LAUSCHGIFT was actually something of HipHop! The album was a response to the chart success of VIER GEWINNT with the joke song “Die Da!?!” And the commercial allegations of the rap scene at the time. And that sat: Fanta 4 brought together a lot here that should also shape the great genre works of the coming years: hits (“She is gone”, “Popular”, “What is going”), ironic beef (the diss against Moses P .), Seriousness, silliness and demolition. (Ayke Süthoff)

Advanced Chemistry

Advanced Chemistry (1995)

By the time Advanced Chemistry finally made its album-length debut, Torch, Toni L and Linguist were almost out of time. The scene after them emancipated and changed rapidly. The long player was primarily a collection of well-known material from 1992 to 1994, plus only a handful of unreleased tracks by the group, which also just disbanded. But especially in this concentrated form with migration background political rap, poetic battle blueprints and dogmatic hip-hop positioning typical of the epoch, ADVANCED CHEMISTRY remains an indispensable document of the times. Herewith the line was drawn under the founding time of the German rap. (Ralf Theil)

Massive tones

Nod (1996)

One of the first German-language rap albums that a US socialized hip-hop fan actually liked to listen to. No outdated 110 BPM Britcore beats, no aggro Denglish, no cramped political agitation with Holterdipolter flows. Instead Wasi produced minimalist, reduced New York beats according to the state of art in 1996. Ju and Schowi rapped fluent, credible hymns to the underground ("Kopfnicker"), home ("Mutterstadt" with Afrob and Max Herre) and the crew (“lap of the kolkhoz” with everyone who went in and out of the Stuttgart youth center at the time). From today's perspective that may sound terribly unspectacular, for German rap it was a little enlightenment. (Stephan Szillus)

Nursery Productions

On behalf of Eternal Youth and Happiness (1996)

The myth claims that this record from Ulm was deliberately not mixed to be radio compatible. It's nonsense, of course, the sometimes erratic draft of chant, between double bass, pun and Kant, had no chance of airplay per se. In return, however, permanent rental rights for German student flat shares, indie discos and mixtapes by people who actually found rap stupid. For Sascha Klammt (Quasimodo) and Henrik von Holtum (Textor), rap was only a means of purpose in order to give meaning to one's own madness. That they showed Deutschrap completely new, unexpectedly free-spirited possibilities cannot be credited enough to them. Proseminarist swag or not. (Daniel Koehler)

Stieber Twins

Window to the Courtyard (1997)

Since the mid-80s, the simple rule of thumb has been: “No matter how real you are, the Stiebers are more real!” They belong to the first generation of German-speaking MCs, the three elements rap / break / graffiti are in their DNA. In the undershirt at mom's dining table they looked cooler than the entire competition in rapper disguise: If necessary, google the relevant advertisement from "Fett MTV". FENSTER ZUM HOF remained the only album by the Heidelberg twins. Many say it has not gotten better in German rap. Every drum, every cut, every sample, every word sits here. With geometric precision, luxury Chris sawed up the funky beats, Marshall Mar brought the majority of the beats and an extra portion of attitude. So they created a winged word with almost every line. They wanted to be "honestly the last rather than the best by shitty". It's nice that they turned out to be the best. Seriously. (Davide Bortot)

Cora E.

CORAgE (1998)

How it is with the hip-hop pioneers: Everyone knows names and achievements, but the testimonies for posterity are few and far between - or, as in the case of the Kiel / Heidelberg rapper Cora E., confusingly sorted. The tracks that the CD CORAgE collects came out almost exactly the same on vinyl in 1997 (... AND THE MC IS FEMALE). Unfortunately, neither format offers a comprehensive overview of what Cora E. means for HipHop in D. Sure, the underground hit "Schlüsselkind", even quoted by Casper, is there, as well as the legendary Stiebers collabo "Once Macco, twice Stieber" and the realness hymn "Lügen" - but the rest of the legend has to be heard from Maxis and VHS -Cassettes together. (Marc Leopoldseder)

Five star deluxe

Sillium (1998)

The five-star debut is probably the trippiest work in German rap history. Apparently the band consumed several plantations of grass and sacks of mushrooms during the writing process. The result was something like a stream of consciousness turned rap: if James Joyce or Allen Ginsberg were German rapper, this would have been their album. However, five stars have the better beats. The fact that SILLIUM also got really silly was generally thought to be uncool in 1998, from today's point of view one is happy about it: FSD messed with songs like "HipHop Clowns & Party Rapper" the whole self-referential business, did not skimp on homoerotic hints and made themselves incessantly about themselves funny. Very rough. (Ayke Süthoff)

One two

Sports EP (1998)

Dendemann currently delivers the best part on the new beginner album and is something like the local equivalent of Andre3000. In 1998 the Sauerlander, who was living in Hamburg at the time and the Mongo Clikke around the (Absolute) Beginner, Dynamite Deluxe and the Eimsbush label, was the exceptional lyricist of the scene. The beats he produced with DJ Rabauke related to the New York underground around Pete Rock and Company Flow. In addition to cunning criticism of the creeping appropriation of the scene by the pop industry, it was about pesky pizza delivery people and other slacker sensitivities. Humorous, casual bread-and-butter rap for the ages. (Stephan Szillus)


We reveal the 30 other best German rap records in the German rap special of the new Musikexpress. Gradually, however, also online in four parts.