Manifesto
WE WERE NEVER HERE TO FIT IN.
SABOTAGE QCQC? — QU'EST-CE QUE C'EST?
THE BEGINNING OF DISORDER.
Germany. Early 1990s.
A country celebrating reunification while nationalism, xenophobia and political violence were once again becoming impossible to ignore. A generation caught between promises of freedom, collapsing ideologies and the machinery of a new consumer society.
This was the environment in which SABOTAGE QCQC? emerged.
Not to provide answers. Not to offer comfort. And certainly not to fit into an existing musical category.
We wanted to create friction.
Electronic machines became our instruments. Rhythm became our language. Distortion, repetition, confrontation and contradiction became part of our identity.
We took the physical force of Electronic Body Music, the aggression of industrial music, the attitude of punk and the experimental freedom of the electronic underground.
And we turned them into something of our own.
MUSIC TO MOVE THE BODY. AND DISTURB THE MIND.
THE YEARS OF NOISE.
With TUMULTE (1993), LIBERTINAGE (1994) ANNORLUNDA (1994), LES ENFANTS SAUVAGES (1995), LE SABOMARCH (1995), DEUTSCHER HERBST ’77 (1996), SEXPLOITATION CINEMA (1996), GODDESS (1996), SCHLAGER (1997), ACOUSTIC COSTUMES (1998), CONCRETE (1999) and subsequent releases, SABOTAGE QCQC? became part of an international electronic underground that refused to separate music from attitude.
Our songs dealt with power, control, violence, sexuality, religion, identity and the contradictions of modern society.
Sometimes direct. Sometimes ironic. Sometimes absurd.
Dadaism, Anarchism, political provocation, black humour and deliberate ambiguity were as important to us as synthesizers, samplers and drum machines.
We were never interested in purity. Neither musical nor ideological.
COLLISION IS CREATION.
Throughout the 1990s, our music crossed borders and connected with artists from different corners of the international electronic scene.
Remixes and creative exchanges brought our work into contact with KMFDM, Front 242, Pankow, Die Warzau, A Split Second, Joachim Witt, Bal Paré, Apoptygma Berzerk, Lassigue Bendthaus, Meathead and many others.
Different approaches. Different sounds. Shared curiosity.
These encounters were never about belonging to a particular scene. They were about transformation.
Taking something apart. Questioning its structure. Rebuilding it from a different perspective.
Because repetition without change is merely nostalgia.
And nostalgia was never our ambition.
THE WORLD DIDN'T GET BETTER. JUST LOUDER.
More than three decades later, the questions that shaped our early work have not disappeared.
Nationalism is back in the headlines. Authoritarianism is gaining ground. Wars are being normalized. Political promises dissolve into public relations. Ecological destruction continues while corporations sell us the illusion of responsibility.
Technology connects billions of people while increasingly turning human behaviour into a commodity.
We have more information than ever.
And apparently less willingness to listen.
SABOTAGE QCQC? has never claimed to possess the ultimate truth.
We distrust those who do.
Our position remains clear: against fascism, racism, sexism, authoritarianism, exploitation and the systematic destruction of our environment.
For freedom. For diversity. For individual thought. For the right to question everything — including ourselves.
We don't believe music alone can change the world.
BUT SILENCE CERTAINLY WON'T.
NO REUNION. NO RETRO. NO RESET.
2026 marks a new chapter.
Not a nostalgic reconstruction of the 1990s, but a continuation of an unfinished conversation.
The machines have changed. Production possibilities have expanded. The world has become faster, more fragmented and increasingly difficult to understand.
Our curiosity remains.
New material combines the mechanical intensity of EBM, the physical groove of funk, the uncompromising energy of industrial music and the hypnotic momentum of contemporary electronic club culture.
Harder where necessary. More minimal where possible. Always driven by rhythm.
At the same time, new collaborations are opening unexpected doors.
Our recent remix work electronic artist, like Krieg-B, Calva Y Nada, ALMA MINUIT and others continues this exchange between different generations and interpretations of electronic music.
THE PAST IS AN ARCHIVE. NOT A PRISON.
Together with SUB CULTURE RECORDS, we are bringing selected historical recordings back into circulation, making material from the 1990s accessible to a new audience.
With EMMO.BIZ, our new four-track vinyl EP NO BOTTOM - NO TOP arrives on January 15, 2027.
Four tracks connecting past and present: THE FLOOD, IMPULS KONTAKT, SOUVENIR (REWORK) and EWIGKEIT (REPRISE).
And beyond that, a new album is taking shape.
Not because the past deserves to be repeated.
But because there is still something to say.
WE ARE NOT NEUTRAL.
We believe art should be allowed to provoke, contradict, question and occasionally offend.
We believe dancing and thinking are not mutually exclusive.
We believe anger can become rhythm. Resistance can become sound. And even the darkest subjects can be confronted with irony, humour and a relentless beat.
We refuse to turn music into a harmless lifestyle accessory.
We refuse to mistake popularity for relevance.
And we refuse to accept that everything must have a price, a target audience or a marketing strategy.
WE MAKE MUSIC BECAUSE WE HAVE SOMETHING TO SAY.
Sometimes loudly.
Sometimes without words.
Always on our own terms.