….HIT YOU!

Zhe Genua Policemen popped out of the middle of now-where when mass protests of anti-globalization activists in Genua (Italy) were struck down violently by local police forces. Besides their name, which should remind of that, the hearty foursome had no political ambitions but shared an distinctive likeness for the subculture of the early Sixties.

Zhe Genua Policemen loved zhe multifaceted cultural expressions of that era, f.e. zombie-movies like „I Eat Your Skin“ or music like the instrumental surf-sounds of Dick Dale and especially garage-bands like the Sonics, one of the first bands ever who really deserved the designation „punk“ in more than only one way since their raw and brutal energy anticipated the british punk explosion for more than a decade!

Another huge role model for zhe Genua Policemen was the first boygroup ever, the Monkees, four young people who were casted by a record company to incarnate the american Beatles. While the lion's share of their musical output was tame teeny-pop, they also had some real raw garage classics on their schedule, like „Steppin' Stone“ (which once was even covered by the Sex Pistols!) or „Circle Sky“, which was also one of the rare tracks a group-member (M. Nesmith) had written.

A further rocket-fuel for the Genua Policemen's sonic excursions to garage-space were the sounds of german composer Peter Thomas whose haunting theme of legendary german TV-classic „Raumpatrouille“ was interpreted by the Genua Policemen as an impellent piece of surf music.

It's also one of the credits of the Genua Policemen to have snatched a record from Texas-based group The Telefones from oblivion, „Vibration Change“ from 1980. „A Sign of the times“ is only the amazing opener from an album full of ingenious and intoxicating Rock'n'Roll-blasts.

As unexpected as the Genua Policemen appeared on the scene of the freshly born millenium, as fast they vanished again from it only a short time later. Since the musical directions of the single members pointed to opposite directions (exo wanted to explore the future, while örwing, puschl and kerzen preferred to stay in the past) the brave quartet disrupted to its single parts again. This is its heritage.

Heinrich Philipp Liebeskraft, „The unknown side of Kraut“

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