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Die Plankton are a Leeds based Art collective engaged in a relentless battle against mediocrity in its various incarnations. They are performing at the Tate Liverpool to spread their message of self-actualisation, universal Love and Reverse Buddhism. For some unfathomable reason beyond our understanding, Die Plankton use the idiom of nu-Krautrock to spread their message.

Die Plankton’s core members are Karl Greenberg and Heinrich Kurnolrüff. Childhood friends in their native Hamburg, they were reunited by chance at a Holmfirth bus stop after another unsuccessful Jewish singles’ night. They began an impromptu performance which saw Karl being arrested for a public disorder offemce. Their obsessions with wrestling, avant-garde music, Hungarian postage stamps and digital art may not have won over the ladies, but the music they create, the remixes they produce and the music videos they direct have won them fans in Mexico, France, Canada, Israel and Moldova.

Die Plankton’s show at Tate Liverpool as part of Made Up Mix on September 25th will see them creating soundscapes which fuse human beat-boxing, bit-pop/chiptune, improvised instruments, hip-hop loops and experimental ukulele.

This is a rare opportunity to witness the enigmatic Die Plankton at their finest.

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Appealing to genuine fans of Krautrock with their mix of avant-garde, post-punk and urban soul tendencies, and to the mindless NME reading, bandwagon hopping ignorami half-hearted journalists with their prefix of 'nu'.

Die Plankton are avaliable to perform, we are happy to play theatre, bar, wedding, bar mitzvah, rave, art opening, fetish ball.

To book contact Die Plankton through myspace, www.myspace.com/dieplankton. Or email dieplankton@hotmail.com

Die Plankton are looking for band for a split single.

"Die Plankton have Van Gogh's ear for music and perform like fluxus on bad crack" - Jonathan Jones

"Is this jazz made by mongaloid insects?" -Absolute Leeds

"I like your work very much. The avant garde is alive and well. " - Laurence Gartel, Digital Art Pioneer

"The Leeds scene would be nothing without Die Plankton" - Jon Gomm

Their set was shambolic, anarchic, and amazing. Throughout the show people next to me were shouting 'new krautrock' which seemed to add to the layers of feedback and noise. The band ended their set to rapturous applause and demands for an encore; they laughed and left the stage - brilliant. Perhaps Die Plankton are the next Sex Pistols, or perhaps they will disappear into obscurity. All I know is that they are the most interesting and innovative band I have seen play in Leeds for a while - but is Leeds ready for new krautrock? - Leedsmusicscene.net

"Like listening to farts" -Captain Claire Cherry, of Leeds band The Mooglefrruckers

"Subversive and anarchic, they deconstruct rock and roll pretensions with their blistering noises - their gigs are fucking loud" - Jon Snow

"Indulgent, original, and unabashedly weird - Die Plankton is the greatest thing to come out of Germany since hamburgers." - Art Rock Magazine

"Feminism is a term that is banded around far too regular these days, but Die Plankton wear feminism on their sleeves - Die Plankton love women" - Anon, Feminism Monthly

"The Leeds scene would be nothing without Die Plankton" - Jon Gomm

"an assault on all the senses, including common." - Evening Post

"I kinda digged what they were doing, but I had to walk out when one of them came from behind the stage blacked-up. - Barfly

"Die Plankton operate in the space between musicality and performative intervention - the centre of the work is always in constant flux. When one listens closely to the track 'Never in a Million Years Would I Kill a Child, Please Forgive Me' we can hear an audible demonstration of Jacques Derrida's discussion of the 'remain(s)' as illustrated in Glas. The remain(s) are that point of the Hegelian dialect where nothing is quite what it seems, it represents that moment of choice – an ever present potentiality. We have two distinct parts of music playing together. One piece is reminiscent of some post-industrial clatter (perhaps a reference to their East German heritage). The other is the slow, Japanese inspired bells. Both lines of music are in different timings forcing the listener to escape from their fixed centre. This is the ever alienated 'I' that Lacan so beautifully discusses with reference to the 'mirror stage'. The two lines of music represent perhaps a conversational dialogue involving class struggle – both are operating independently of each other, but at points the sounds mesh creating perfect synthesis…" " - Judy Butler, Parallax (forthcoming)

"If leeds was the ocean, the kaisers would be like a big blue whale, the biggest band around, and Die Plankton would be..........er.........very small." - Trev, Leedsmusicforum.co.uk

"It makes me sit back and ask myself, why am I even listening to this" -Nick Kent

"Is this bizzarre music, or merely better music? Or neither? -Noam Chimpsky

"Die Plankton are a laborious joke" - Sam Saunders

'i love the plankton.' - Tony Bone

"Your music sounds like Nightmares!" Mad Sam Flint, one legged front man of Road Krew

"Sounding like the Princess Diana car wreck meets George Orwell... classic stuff" - Wire

"If Bob Hoskins made music, it would sound like this" - NME

"I just don't get it, is it meant to be funny, or just plain shit?" - No Title Magazine

"Ich muss in meinem Herzen von Herzen sagen, ich finde, dass "Die Plankton das am meisten fantastische erstaunliche Band, um jemals zuzuhören." - Krautrock Superzeitschrift

"Pointless" - Sandman Magazine

"Genius" -Metro

"According to Green, pop's assertion of rhythm, its interruption of language, its sexuality, the way in which it presents identity and dissolves identity, and the means with which it does so, converges with many postmodern philosophical concerns. 'It is possible to think about music as something that undoes. In as much as it is not semantic, does not have that bedrock of meaning, other than having other ways of circumscribing it, it is a deconstructive mood' (Green in: Toop, 1988). 'When I met Derrida he said that Die Plankton was part of the same project of undoing and unsettling that he's engaged in. He's written that what sets the musician apart is the possibility of meaninglessness. That unsettling has always been my experience of Die Plankton, from the earliest moments - Die Plankton is about the abuse of language' (Green in: Reynolds, 1988)." - Scritti Politi, 'a short note about Die Plankton'

"There is something certainly amazing about the musicmanship of this group." - Harry Greysham, Look North

"Die Plankton are the twin towers of pop" - Leeds Guide

"They're offensive and their music is proper shit, why don't you just fuck off and Die, Plankton." - Vibrations "combining the dynamism of Faust with the avant garde pretensions of the 1920s, Die Plankton are certainly an enigma. One can detect the feel of John Coltrane's more experimental failings..." - The Guardian

[Die Plankton] don't have "songs" as such - they use and subvert song forms within the context of an expressive whole that includes the entire texture of vocal and instrumental rock sounds in exciting ways - not so much experimental as exploratory, finding what can energise a crowd, and drawing them into otherwise "difficult" terrain. Like all genuine art, they ask their audiences to perceive things differently. - Sam Saunders. Leedsmusicforum

"They ironed on stage, it looked like a cow's udder that was being ironed, but it sounded beautiful, we were lost in the moment like cherry blossom petals floating in the breeze" - The Observer Music Monthly

"'Oh What A Disaster' is shocking, my gameboy whilst playing tetris dipped in water sounds better.... you can quote that one." - Dom Chalk

"Come if you will - take a trip down audio strasse , picture if you will a bovine , a field , a small german town. In the field is a man with a microphone - pointing to the cud. This is life , this is music , this is an essay of perception - this was is and will always will be Die Plankton. Pre industrial revoloutionairies one and all , rejoice as we take a trip into the pivotal world of grazing cows overdubbed with gooseman sliding through a deck chair - turn the delay peddle up to 10 feed backwards through a steel drum with fish juice and wilkommen to Neu Kraut Rock.
Some people say Neu Kraut rock is half rock , some people say Neu Kraut rock is alive. Die Plankton say
"Schloss Frankfurt Verboten" - Castle Frankfurt is Forbidden. Statements of sound like this moved them quickly from Eygptian myth to teenage uberstars in the flinch of an earlid. Recently the Monkey Sage Heinrich Schlecker was overheard debating his very own Ill advised moustache. The conclusion is perception itself - for centuries the teenage Neu Kraut teenager has asked unto himself
" to shave or not to shave ?"
- in an alternative universe this isnt the question at all - it is merely the question of perception, the hint of concept , the rumour of musical musings on a mindmist cast centuries ago." - An Essay Of Perception by Marian Gooseherdt