- Writer(s): H.P. Baxxter & Britte Maxime
- Year: 1988
- Album: Meanwhile
Another song about sex in the office – but as much as H.P. Baxxter tries to mimic Marc Almond’s lecherous tones (Soft Cell’s “Facility Girls” comes to mind), his stern pronunciation causes whole affair to seem awkward and trifling – making the line “
She has to seduce him to be preferred,” as least sexy as possible. He then whispers “
She’s a secretary” like it’s a threat. And it sounds like he actually refers to her “c
harming tits” (An unconfirmed Internet source (with a pop-up offering a ring-tone) quotes, “
I’m attencious,” which isn’t even a word. So, I’m skeptical.).
He’s rescued with a chorus from his sister Britte Maxime. Sure, being a German, she’s detached too (or is there a hint of sadness?), but the contrasting perspective pushes the theme, and Baxxter’s little spoken-rap session in the bridge adds further variety.
Celebrate The Nun probably aspired to be Germany’s answer to Depeche Mode (with an even more confusing name), but they failed to reach the status of even the Information Society. In hindsight, however, songs like this are glaring markers of 10 years of electronic music evolution.
In 1978, with “The Model,” possibly the first pop tune of the synth era (well, maybe besides Ultravox’s “Quiet Man”), Kraftwerk waxes lyrical of an unattainable media starlet. In 1988, Celebrate The Nun brings the female down to earth and into the workplace.
Musically, the ignition during the first few seconds reminds me of KITT’s dashboard lights flickering while Michael Knight turns the key before speeding off on a car chase. And the dramatic instrumental break: is that a symphonic orchestra? No, it’s a synthesizer substitute by Rick Jordan – elegant yet powerful.
This dream production strikes an improbable balance between the smooth and the hi-NRG – fitting for reclining or dancing. Such music technology was pioneered, engineered, and later perfected by Germans – an era that began with Kraftwerk and apexed here.
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