Retrospectively, it makes perfect sense that Der Plan created a soundtrack. For one thing, visuals were almost as important to Der Plan as their music. And if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, Der Plan went further—with scenery, masks and album covers designed by Moritz R they invented their own universe. Indeed, the sounds of everyday life woven into Der Plan’s music contributed to the filmic quality of their sound. Thus Frank Fenstermacher, Moritz R and Pyrolator were not slow in responding to their old friend Rainer Kirberg’s request to work on his latest film “Die letzte Rache”. The director Kirberg, born in 1954, studied film in Düsseldorf. They all knew each other from shared lodgings, political meetings and the local hangout Ratinger Hof. As well as playing his part in the music, Moritz R also came up with the sets, whilst Frank Fenstermacher secured a minor role as the inspector’s sidekick. (Rainer Kirberg’s latest film, the highly acclaimed “Das schlafende Mädchen” hit the screens in January 2013.) But back to the music: “Letzte Rache” was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. With the aid of the Emulator 1, Der Plan succeeded in recording something which could also work as a diverting radio drama without moving images. In contrast to the two previous albums “Geri Reig” and “Normalette Surprise”, which defined the “Plan sound” and virtually did without any musical quotations, echoes of jazz can be heard on “Die letzte Rache” and, of course, film music. Andreas Dorau weighs in with a bona fide pop hit in the guise of a “Junger Mann”.