Editing Deutsch Amerikanische Freundschaft (section)

===Virgin trilogy===
DAF then shrank to just Delgado and Görl, who signed to [[Virgin Records]] and released ''[[Alles ist gut]]'', their breakthrough album. The band became pop stars in Germany and gained great critical acclaim in the UK.

Görl played drums — usually fairly simple and relatively [[Syncopation|unsyncopated]] patterns, but with simple variations that prevented them sounding robotic — while Delgado sang. The only other instruments used were Korg MS-20 and ARP Odyssey [[analogue synthesizer]]s usually driven by a Korg SQ-10 [[analog sequencer]]. Typically only a single sequencer-driven line would be used for a song, the sequence functioning both as melodic accompaniment and as a bassline. The song "Der Mussolini" is a perfect example of this. On other songs, such as the title track, certain notes of the sequence were set slightly out of tune. Overall the songs entail a complex tension between the predominantly visceral (the voice), the relentlessly robotic (the 16-step sequences), and the drums, which lie somewhere in between. One song, Der Räuber und der Prinz (The Robber and the Prince), also features a [[Glockenspiel]]-like sound as a sinister reminder of childhood.

''Alles ist gut'' sold hundreds of thousands in Germany, and DAF became the fifth-biggest [[German language#Geographic distribution|German-speaking]] group in Germany.<ref name="Rip It Up, ch. 18"/>

[[File:DAF 0016 small.jpg|thumb|Gabi Delgado-Lopez and Robert Görl onstage, 1981]]

The next two albums, ''[[Gold und Liebe]]'' (Gold and Love) and ''[[Für immer (D.A.F. album)|Für Immer]]'' (Forever), continued in the same vein, until, as one British music journalist of the time put it, D.A.F. had exhausted all the possibilities of the 16-step sequencer. These possibilities ranged from something resembling [[rhythm and blues]] — you could just about play Der Mussolini as R'n'B if you wanted — to the [[Microtonal music|microtonality]] of ''Im Dschungel der Liebe'' (In the Jungle of Love) (on ''Für immer'') or ''Knochen auf Knochen'' (the B-side of the single "Sex unter Wasser").  These three albums (from ''Alles ist gut'' to ''Für immer'') were all produced by [[Conny Plank|Konrad "Conny" Plank]], who was renowned for his pioneering work both with minimalist-influenced [[Krautrock]] bands and other experimenters in the 1970s, and with [[electropop]] artists in the 1980s. The band added an Oberheim OB-Xa for ''Für immer''.

The band split during the recording of ''Für immer''.