In their 27th year, EinstÃ¼rzende Neubauten again prove the potency of their philo-acoustic long-term therapy. After their successful 2007 tour of the
MP3 version of the song “Weil Weil Weil” (album version) is now available for
download from the track info page:
It is also available for just streaming listening on the neubauten.org
Â Â Â Â Theoretically seen EinstÃ¼rzende Neubauten’s agenda can be summed up as noise-therapy. In actuality, however they always were and will be exceedingly complex. They are an allegedly chaotic production collective creating music whose particular allure and beauty is in no way obvious upon simple, first time listening. In this music the parameters of conventional music have been entirely shifted. The scale of all aesthetic units involved apparently reach up into infinity and are being constantly collectively redefined.
Â Â Â Â This is how it’s been since their zero hour of the association-heavy date of the 1st of April 1980, for themselves and an international music scene that was curiously attentive right from the start. And this is how EinstÃ¼rzende Neubauten eventually became one of the most important groundbreaking formations in world pop culture. The paths that EinstÃ¼rzende Neubauten have walked over a period of almost three decades of band history were never before traveled with comparable consistency and unwillingness to compromise. The walls and borders that they broke through – and not just figuratively — avec plaisier, had been considered insurmountable. This counts first of all for a band from
Â Â Â Â The Wall was of crucial importance to the founding of EinstÃ¼rzende Neubauten. The Wall encircling
Â Â Â Â This was their reaction to the omnipresent political madness and the ever-increasing flood of meaningless pop-songs on radio and TV propagated by the “Neue Deutsche Welle” scene. EinstÃ¼rzende Neubauten offered the anxiety ridden, paralyzed and media sedated masses noise-mighty, rhythm-ritualistic anti-Pop as an antidote, made by instruments carefully stolen from building sites, junkyards and Do-It-Yourself-Hardware stores. They employed steel parts, tin drums, drills, hammers, saws and an untuned electric guitar, all crowned by Bargeld’s bloodcurdling screams und feverish apocalyptic texts. Kollaps, with its atonal essence, embodied exactly what the title suggested: decay and destruction, illness, doom and death. Ironically its release had the exact opposite effect, being the dawning and cornerstone of a completely new understanding of music which came to influence countless popular bands including Depeche Mode, Nine Inch Nails, Marilyn Manson and Rammstein.
Â Â Â Â In the years following, the three founders recruited Alexander Hacke and Marc Chung and expanded their ground-breaking sound field experiments with recordings like Zeichnungen des Patienten O.T. (1983), 1/2 Mensch (1985), FÃ¼nf auf der nach oben offenen Richterskala (1987) and Haus der LÃ¼ge (1989), all milestones of the Industrial genre. On their first few albums they were not content to merely widen horizons – they blew ’em to bits! Pieces like “
Â Â Â Â After experiences with large-scale theater-projects working together with renowned directors like Peter Zadek, Heiner MÃ¼ller and Leander Haussmann – all enthusiastically received by the European critical community — EinstÃ¼rzende Neubauten opened another chapter in their musical history with Tabula Rasa (1993), Ende Neu (1996), Silence Is Sexy (2000) and Perpetuum Mobile (2004). This work focuses on the inter-relationship between between loud and quiet, noise and harmony taken to the very limit of the frequency-band spectrum. Carried by treacherous perforated calm and softness, the chief ideologist Blixa Bargeld proves himself to be at the height of his lyrical art with songs such as “Die Interimsliebenden”, “Stella Maris” or “Die Befindlichkeit des Landes”: here, he is hedged in, thinking around corners and edges, pondering.
Â Â Â Â Today, EinstÃ¼rzende Neubauten is the first and only band which successfully uses the Internet productively to gather and concentrate activities of their fans from around the world. EinstÃ¼rzende Neubauten launched their official website www.neubauten.org in 2002, and made it the center of their musical activities. Entire albums are financed by registered Supporters via subscription. The principle is simple: their Supporters buy the next EinstÃ¼rzende Neubauten album before it’s recorded. With this funding in hand the band has time to work in peace rather than wasting time and energy in endless discussions with record companies about marketing and “brand identity” – irksome intrusions into the artistic process! In return Supporters world-wide have exclusive access to EinstÃ¼rzende Neubauten’s internal working processes.
Â Â Â Â Supporters were able to watch the recording sessions via web-cam for the first two “Supporter Albums” (2002/2005) and were also called upon by the band members in direct chat discussions to comment on the working process and influence it. In the same way, the “Musterhaus” series (a collection of experimental albums) is being marketed solely on the website.
Â Â Â Â One recent high point in the mercurial and unique history of EinstÃ¼rzende Neubauten was by the highly symbolic 4th of November 2004 show at Palast der Republik, the former headquarter of the power apparatus of the fallen GDR which was in the process of being demolished. This impressive and unique performance (featuring the 100-person Supporter choir on “GrundstÃ¼ck”) was recorded and filmed for release as the GrundstÃ¼ck CD and DVD of the same title (2005) as well as on the Palast der Republik DVD (2006).
The untiring exploring spirit is still driven by a hot burning desire. EinstÃ¼rzende Neubauten are still on the unending quest for the undiscovered Sound and have once again perceptibly redefined their parameters.
Â Â Â Â For every generation its own sickness, and for every generation its own cure. Sometimes the proven household remedies are the most effective. Or so they say.