In the late 1980s, when Bruno Kramm and Stefan Ackermann — then still young New Wave musicians — were sending out their first religion-critical demo tapes, they had no idea that these releases would soon define an entirely new music genre: "Neue Deutsche Todeskunst" (New German Death Art). Songs like "Gottes Tod" and "Des Satans neue Kleider," which to this day carry a wholly unique and undiminished magic, became widely sung anthems of the black scene in freshly reunified Germany. Even with early works like "Satanische Verse" and the album "Die Propheten," Das Ich combined drama with music, expressionism with classical composition, and electronics with Gothic — at an intensity the musical landscape had never encountered before. They pushed boundaries and inspired countless bands and art forms with their new sonic language. On extensive world tours across Europe, the USA, South America, Asia, Israel, and Russia, Das Ich were not only ambassadors of a new, expressive, and historically conscious German culture — they also helped liberate the German language from the confines of Schlager, folk music, and Krautrock. Between albums like "Staub," "Egodram," "Lava," "Antichrist," and "Cabaret," Stefan Ackermann and Bruno Kramm always allowed themselves enough time to follow their inspiration freely, developing a musical language that found its own distinct answer to every era and every zeitgeist.