The production of the album kept the Ministry for State Security busy for several years, with the band Schleim-Keim almost exclusively targeted for repression.

Two unofficial collaborators (IM) were involved in its creation, including the then highly regarded alternative writer Sascha Anderson.

Sören "Egon" Naumann, the driver and technician familiar with recording techniques, was included in the plan and agreed to produce the songs.

The studio was set up by Andeck Baumgärtel, a blues musician with the group Mustang, on the ground floor of his home, and was equipped with a drum kit from the Czech brand Amati.

[2] The initial recording session featured Rosa Extra, who brought a genuine Casio synthesiser - a rarity in the GDR at the time.

The band consisted of Sascha Anderson, Cornelia Schleime, and Michael Rom on vocals, Lothar Fiedler on guitar, Matthias Zeidler on bass, and Wolfgang Grossmann on drums.

This was not a coincidence, as the MfS had learned about the record's production through unofficial collaborators (IMs) Sascha Anderson[3] and Sören Naumann.

The group, which included freelance writers Bert Papenfuß-Gorek and Stefan Döring, was trying to be classified by the state at the time.

[8] The LP was titled DDR von unten (GDR from below), sometimes abbreviated as eNDe, which appears on both the front and back cover.

While some speculated that the lettering eNDe was meant to evoke the abbreviation ND for Neues Deutschland, the SED party newspaper, some band members deny this.

[16] The front cover is part of Kerbach's Totenreklame-Zyklus a series of images he used for the poetry collection totenreklame, eine Reise by Sascha Anderson.

Cornelia Schleime illustrated the reverse side, featuring a drawing of a woman's upper body and head, as well as several unrecognisable objects arranged on a shelf.

[18] On page 2, there is an essay by Anderson titled "Von einem Beteiligten", where he pens his thoughts on the band's history in lowercase.

Additionally, there is a statement by Karl-Ulrich Walterbach regarding the confiscation of the first Slime LP due to the songs "Deutschland muß sterben" and "Bullenschweine".

Following Ralf Kerbach's departure, Sascha Anderson took over leadership of the group, so the pieces seemed to be a solo effort by him.

The song Alles oder nichts originated from a band session in the summer of 1982 at the Theater der Jungen Generation Dresden, with Kerbach on guitar.

[19] Geh über die Grenze and Jeder Satellit hat einen Killersatelliten were already published in 1982 in poem form in Sascha Anderson's collection of the same name, with illustrations by Ralf Kerbach.

Volker Palma's trombone and violin parts are sparse and, like the rest of the music, largely lack a fixed rhythm.

[20] Die Aufnahmen der fertigen LP stellen eher eine Solopräsentation Andersonscher Lyrismen dar.

Scheiß Norm deals with the compulsion to conform in the GDR, while Untergrund ist Strategie proposes the anarchist underground struggle as a solution.

Frankreich (later Faustrecht (rule of fist)) describes the widespread police violence and arbitrary arrests in the GDR in a veiled manner.

("The cops catch you off the street because you're just dirt (...) They punch you in the face, for them you're just a lousy pig (...) They do what they want with you (...) Get you out of your bunk with your arse",[24] free translation).

The lyrics to Ende drew the attention of the state security service due to the lines "I'm no longer ashamed of my homeland, the GDR (...) I'm through with it / Careerists and fascists and only false communists"[25] (free translation).

For a year and a half, Ehrlich reported on the punk movement to the MfS in exchange for small sums of money and cigarettes.

[26] Dimitri Hegemann, who initiated the record, was banned from entering the GDR and was even prohibited from using the transit route to West Germany for a while.

[11] Although Schleim-Keim was exclusively affected by state repression, Zwitschermaschine was completely spared due to the MfS's fear of exposing its IM Anderson.

[28] Until the Peaceful Revolution in 1989, this split LP was one of only four albums that made it over the Iron Curtain, and it remains one of the few examples of musical underground and resistance in the GDR.

The LP challenged the state's recording monopoly and demonstrated that a counter-movement was possible despite major technical restrictions and rigid treatment of musicians in the East.

[34] In an interview with Ox in August/September 2007, Cornelia Schleime confirmed that Dieter "Otze" Ehrlich was considered the "only punk rock star in the GDR": Aus dem Bauch heraus sehe ich das genauso.

Auch waren sie nicht eitel, denn es ging ihnen einzig und allein um die Musik.