Arno Steffen is a Cologne based musician whose music passions have oscillated between punk rock and roll, experimental avant-garde music, and humorous pop tracks. His 1984 solitary “Supergut (ne)?!” became a strike, but Steffen is most beneficial known for his association using the punk rock and roll group Zeltinger and his fun trio L.S.E.. Steffen was created on August 28, 1953, in Cologne, Germany. While still in senior high school, the self-taught musician founded the Red Floyd-influenced group Interstellar Overdrive (with article writer Roland Kaehlbrandt), which been around from 1970 to 1975. After a brief break, he continuing making music, 1st with a music group known as Jennifer in 1977, after that Suiciyde Ampheta (or Suicidyd Ampheta). After playing within an acoustic trio along with his friend Juergen Zeltinger, he spoken his Suiciyde Ampheta bandmates into developing a music group with Zeltinger like a frontman. They truly became Zeltinger, playing their 1st concert in 1979 and quickly gathering interest for his or her street-based punk music combined with Koelsch lyrics (a German dialect spoken in Cologne). Steffen 1st worked like a songwriter for Zeltinger — he developed a German edition of the Ramones song that he wrote fresh Koelsch lyrics (“Müngersdorfer Stadion”) and played acoustic guitar in the group for some time. During this time period, he also briefly became the business lead vocalist of Jürgen Fritz’s music group Triumvirat and documented the recording Russian Roulette (1980) with them, also adding several songs towards the recording like a songwriter. In 1984, Steffen released a single recording, Schlager, that was a cooperation with Krautrock maker/engineer Conny Planck, whom he previously fulfilled when Planck manufactured Zeltinger’s 1st recording. Schlager was a fairly experimental affair, using discovered noises and primitive examples but eschewing regular instrumentation — every audio on the record was either made by tone of voice, or pre-recorded and partly processed. Regardless of the atonal character of Schlager, the record featured a hit one in “Supergut (ne)?!,” which match the brand new German Wave audio well enough to make sure its addition on ’80s samplers for a long time to check out. In 1985, Steffen released a solo 12″ EP known as 4 Liebeslieder. Steffen’s curiosity about avant-garde music continuing, as he staged several artwork and music shows, including tasks for the Goethe Institute. He also resumed his cooperation with Conny Planck, going through SOUTH USA using the music tasks “Around the world” and “Westworld,” as well as Cluster’s Dieter Moebius. After Planck’s loss of life in 1987, Steffen caused professional photographer Jürgen Klauke, started scoring Television shows and films, and produced several compilations known as Köln-Sampler, that have been focused on showcasing new rings from Cologne. In 1990, Steffen produced a fresh group known as L.S.E. as well as pianist Rolf Lammers and de Bläck Fööss vocalist Tommy Engel (the titular initials are a symbol of the three bandmembers’ last titles). With many guest music artists, the group developed an absurd musical tapestry that included funny Koelsch tales, Zappa-esque jazz, and boogie-woogie. L.S.E. released three albums through the ’90s: Fuer et Haetz el Jaejen d’Kopp (1992) (the name can be Koelsch for “For the Center and Against the top”), Ruhm Kennt Keine Gnade (1994) (“Popularity Has learned No Mercy”), and Aua (1996) (“Ouch”). In 1996, the music group continued hiatus without in fact disbanding. 2004 after that saw the discharge of the best-of compilation, Das Beste von L.S.E.. Lately, Steffen has focused on scoring Television films. He has made up music for eight shows of Tatort, among Germany’s most effective TV criminal offense series, and in addition for it film Das Wunder von Lengede.