Recently, I ripped through a new Die Kreuzen biography like it was a track from the Milwaukee band's 1982 "Cows and Beer" debut.

"Please Don't Say Please: The Oral History of Die Kreuzen" – published by Feral House – was written by veteran Milwaukee music writer and musician Sahan Jayasuriya with the cooperation of band members Erik Tunison, Keith Brammer, Brian Egeness, Dan Kubinski and Erik Tunison, and it's so engrossing that it reads in a flash.

It's interesting to read about the band's ups and downs and their dedication to their music. But what really shines through is the enduring mark that Die Kreuzen made on American music.

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We knew here how great Die Kreuzen was, but Jayasuriya's book makes it abundantly clear that the band deeply influenced musicians around the country who later became influential themselves.

There are contributions from Neko Case, producer Brad Wood, the late Steve Albini, Sonic Youth's Thurston Moore, Garbage's Butch Vig, Ian MacKaye from Minor Threat and Fuzagi, members of Pavement, Dinosaur Jr., Soundgarden, Shudder to Think and others.

"I’ve often referred to Die Kreuzen as being the 'proto-everything' band for the '90s, because their catalog really shows the progression of '80s underground rock that paved the way for alternative rock’s early 90s breakthrough," says Jayasuriya.

"With this in mind, here are seven Die Kreuzen tracks that illustrate that range."

"Not Anymore" (From "Die Kreuzen," 1984)

It’s hard to pick a favorite track from their first album, because it’s 21 songs and they all rip. All of the songs on their first 7-inch, "Cows and Beer" appear here in re-recorded form, and to me, these are the definitive versions. The performances are confident and focused and all unified by a spacious and slightly eerie production quality. Keith Brammer and Erik Tunison’s ultra tight rhythm section, Brian Egeness’ unique Greg Ginn meets Robert Fripp guitar wizardry and Dan Kubinski’s groundbreaking pre-black metal scream, it's all here on “Not Anymore,” delivered at break-neck speed with extreme precision.

"Man In The Trees" (From "October File," 1986)

Around the time of making their debut album, the members of Die Kreuzen had gotten turned onto acts like Echo and the Bunnymen, Sisters Of Mercy and The Cure. When the band began writing the follow up to their debut, those influences found their way into their songwriting process. “Man In The Trees” opens up their "October File" album, and it’s a fantastic introduction to an album that’s hazy, atmospheric and dark, not unlike the album’s cover art.. There are a ton of great moments on this record-from odd time signature groovers to tortured downtempo dirges-but “Man In The Trees” stands as the band’s best album opener.

"Cool Breeze" (From October File, 1986)

"October File" is the portrait of a band stretching out a bit and breaking away from the constraints of hardcore punk. There’s still a handful of tracks like “Imagine a Light” that will please fans of the debut, but immediately following it is this-a jangly downtempo track, driven by acoustic guitars that feel like if REM were on 4AD Records. A polarizing song among their fanbase, I’d call “Cool Breeze” a bold inclusion, but really, these dudes were gonna do whatever they wanted. Following the album’s fastest song with its slowest? That’s super punk if you ask me. Circle pitters, chill out.

"Elizabeth" (From "Century Days," 1988)

Is “Elizabeth” Die Kreuzen at their most pop? It’s certainly their brightest and one of their most “college rock” songs. "Century Days" marks the beginning of the band’s working relationship with Butch Vig, whose production presents Die Kreuzen in wide-screen. The 4AD influence continues here, shining through in Brian Egeness’ dreamy guitar work, with him citing the Cocteau Twins as being a particular favorite of his around this time.

"Stomp" (from "Century Days," 1988)

This is another great track off of the "Century Days" that showcases one of the band’s best qualities-their ability to write songs in odd time signatures that still groove.. You can’t help but bob your head to this one, or at the very least try to. Yep, those are horns you hear, courtesy of Tim Cole and Peter Balistrieri. “Stomp” is just a killer rock n roll track, and the band pulls it off amazingly, with tons of style and attitude. Turn it up.

"Gone Away" (from "Gone Away," 1989)

To me, “Gone Away” is hands down Die Kreuzen’s single best songwriting achievement, as it possesses virtually every element of the band’s sound in one tidy three-minute song. It may not have the intense speed and pacing of the first record, but the melancholic mood of "October File" and "Century Days" is accompanied by their best and most memorable vocal melodies. There’s hooks galore, every member is playing at their absolute best and it’s all enhanced by Butch Vig’s masterful production. If you’re not a fan of the more aggressive side of things, this is the track for you. It’s backed by a great cover of Aerosmith’s “Seasons of Wither” as well as some white hot live tracks taken from a gig at the Odd Rock Cafe. A great entity point for listeners who want something of a Die Kreuzen sampler platter. 

"Heaven" (from "Cement," 1991)

"Cement" was Die Kreuzen’s final album, produced by Butch Vig within months of him also working with Nirvana and The Smashing Pumpkins. "Cement" leans a little more classic rock at times, and the songs are among the longest in the band’s discography, but the album has plenty of great moments on it, among them “Heaven.” The bassline feels like a precursor to bands like Sunny Day Real Estate, but as the song starts to unfold, we’re given a new perspective on a song that’s unmistakably Die Kreuzen. I’ve always said that every album has elements of the debut LP in it, and there are moments of pure terror in “Heaven,” courtesy of vocalist Dan Kubinski and his unmistakable voice. Don’t hear it? Listen harder.