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2CD
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POTOMAK 254752
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Einstürzende Neubauten present their new album Rampen (apm: alien pop music). Since the band was founded on April 1, 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture to make the inaudible audible -- perhaps the unheard as well. This experimental field research, spanning more than four decades, is now entering the next stage. In its 44th year of existence, the band is going back to its roots while redefining itself. It's a change in self-image, for which the Berlin quintet plus one has created its own genre -- alien pop music.
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POTOMAK 254751
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Double LP version. Einstürzende Neubauten present their new album Rampen (apm: alien pop music). Since the band was founded on April 1, 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture to make the inaudible audible -- perhaps the unheard as well. This experimental field research, spanning more than four decades, is now entering the next stage. In its 44th year of existence, the band is going back to its roots while redefining itself. It's a change in self-image, for which the Berlin quintet plus one has created its own genre -- alien pop music.
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2LP
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POTOMAK 256091
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$58.00
PREORDER
RELEASE DATE: 4/26/2024
Double LP version. Yellow color vinyl. Einstürzende Neubauten present their new album Rampen (apm: alien pop music). Since the band was founded on April 1, 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture to make the inaudible audible -- perhaps the unheard as well. This experimental field research, spanning more than four decades, is now entering the next stage. In its 44th year of existence, the band is going back to its roots while redefining itself. It's a change in self-image, for which the Berlin quintet plus one has created its own genre -- alien pop music.
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CD
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POTOMAK 195992
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After more than 12 years, Einstürzende Neubauten's long-awaited new studio album Alles In Allem is finally going to be released. The album marks the quintessence of the band's output, opening yet another unexpected door in 40 years of ongoing sound research by a very experimental group of musicians around Blixa Bargeld. This band, like nearly no other, has managed to create a musical cosmos. It has, in fact, built up its own genre by uniquely combining edgy sound with sophisticated poetry. Appropriately, in the Year of the Rat -- the symbol of ingenuity and versatility according to the Chinese zodiac -- the band is not resting on the laurels of its last four decades. Instead, it curiously continues to explore everything that the sound universe has to yield, with one eye on the future and with boundless playfulness The unique sound and textual landscapes of the band, founded in 1980 in Berlin, reveal the timelessness that Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit, and Rudolph Moser have continuously maintained. And yet, through experimental approaches to songwriting, instruments developed over four decades and collective input, the band sounds remarkably cutting edge within its own time. In fact, through its individual brand of music the Einstürzende Neubauten seem to always command each and every manifestation of the here and now -- whether industrial in its early years, the driving beats of the 1990s or its more considered later work. The verse "Wir hatten tausend Ideen / Und alle waren gut" (We had a thousand ideas / And all of them were good) from album track "Am Landwehrkanal" could easily be perceived as the band's description of itself. The sum total is a special compilation: Alles In Allem, Einstürzende Neubauten's first regular studio album in 12 years, presents an incomparable band that defies categorization to create a genre all its own.
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POTOMAK 195991
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2022 repress; LP version. After more than 12 years, Einstürzende Neubauten's long-awaited new studio album Alles In Allem is finally going to be released. The album marks the quintessence of the band's output, opening yet another unexpected door in 40 years of ongoing sound research by a very experimental group of musicians around Blixa Bargeld. This band, like nearly no other, has managed to create a musical cosmos. It has, in fact, built up its own genre by uniquely combining edgy sound with sophisticated poetry. Appropriately, in the Year of the Rat -- the symbol of ingenuity and versatility according to the Chinese zodiac -- the band is not resting on the laurels of its last four decades. Instead, it curiously continues to explore everything that the sound universe has to yield, with one eye on the future and with boundless playfulness The unique sound and textual landscapes of the band, founded in 1980 in Berlin, reveal the timelessness that Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit, and Rudolph Moser have continuously maintained. And yet, through experimental approaches to songwriting, instruments developed over four decades and collective input, the band sounds remarkably cutting edge within its own time. In fact, through its individual brand of music the Einstürzende Neubauten seem to always command each and every manifestation of the here and now -- whether industrial in its early years, the driving beats of the 1990s or its more considered later work. The verse "Wir hatten tausend Ideen / Und alle waren gut" (We had a thousand ideas / And all of them were good) from album track "Am Landwehrkanal" could easily be perceived as the band's description of itself. The sum total is a special compilation: Alles In Allem, Einstürzende Neubauten's first regular studio album in 12 years, presents an incomparable band that defies categorization to create a genre all its own.
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POTOMAK 158682
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With Grundstück, a real rarity is being released on the commercial market for the first time: Originally issued in 2005 as a small limited edition, the much sought-after album is now officially available as a CD and also for the first time ever as an LP, each including a DVD with previously unpublished film recordings of the project and an extensive booklet. With their noise-laden anti-pop, Einstürzende Neubauten has established itself as one of the most radical, unpredictable and unconventional avant-garde bands in the popular music scene. Looking back to the year 2002: To make itself independent of the record industry and keep full artistic control, the band became early pioneers of crowdfunding with an internet-based fan action for the financing of their next album, which came to be known as the supporter project. An interim work consciously conserved in its unfinished condition, Grundstück is the missing link between 2004's Perpetuum Mobile and 2007's Alles wieder offen. Grundstück represents what the album title asserts: One's own lot. Aside from material that was produced in the band's own Berlin studio, some parts of Grundstück were played live while on tour, matching the experimental character of the project's genesis: In addition to Blixa Bargeld, Alexander Hacke, N. U. Unruh, Jochen Arbeit, Rudolf Moser and Ash Wednesday, a 100-member choir made up of supporters can be heard. Grundstück opens with the noisy and propelling "Good Morning Everybody," based on engine sounds of air compressors and accompanied by rhythmic steel plate beats. The seven-part title track shapes its core, which in its atonal experimental spirit represents the non-conformism and nihilism that the name Einstürzende Neubauten stands for to this day. Closely connected to the album, an accompanying DVD was also produced with the help of a supporter. It was filmed on November 3, 2004, during a special supporter gig at East Berlin's Palast der Republik; the earlier political apparatus of the former GDR state leadership. Exclusive live recordings were made at a historical location, which was torn down shortly thereafter to make way for a demonstration of the power of the freshly reunited Federal Republic of Germany. Einstürzende Neubauten in the gutted control center of a collapsed state -- a witness of the times with the greatest possible symbolic value: Einsturz (collapsing), Neubau (rebuilding), Grundstück (lot). DVD is NTSC all-region format.
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POTOMAK 158681
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Gatefold LP version with DVD. With Grundstück, a real rarity is being released on the commercial market for the first time: Originally issued in 2005 as a small limited edition, the much sought-after album is now officially available as a CD and also for the first time ever as an LP, each including a DVD with previously unpublished film recordings of the project and an extensive booklet. With their noise-laden anti-pop, Einstürzende Neubauten has established itself as one of the most radical, unpredictable and unconventional avant-garde bands in the popular music scene. Looking back to the year 2002: To make itself independent of the record industry and keep full artistic control, the band became early pioneers of crowdfunding with an internet-based fan action for the financing of their next album, which came to be known as the supporter project. An interim work consciously conserved in its unfinished condition, Grundstück is the missing link between 2004's Perpetuum Mobile and 2007's Alles wieder offen. Grundstück represents what the album title asserts: One's own lot. Aside from material that was produced in the band's own Berlin studio, some parts of Grundstück were played live while on tour, matching the experimental character of the project's genesis: In addition to Blixa Bargeld, Alexander Hacke, N. U. Unruh, Jochen Arbeit, Rudolf Moser and Ash Wednesday, a 100-member choir made up of supporters can be heard. Grundstück opens with the noisy and propelling "Good Morning Everybody," based on engine sounds of air compressors and accompanied by rhythmic steel plate beats. The seven-part title track shapes its core, which in its atonal experimental spirit represents the non-conformism and nihilism that the name Einstürzende Neubauten stands for to this day. Closely connected to the album, an accompanying DVD was also produced with the help of a supporter. It was filmed on November 3, 2004, during a special supporter gig at East Berlin's Palast der Republik; the earlier political apparatus of the former GDR state leadership. Exclusive live recordings were made at a historical location, which was torn down shortly thereafter to make way for a demonstration of the power of the freshly reunited Federal Republic of Germany. Einstürzende Neubauten in the gutted control center of a collapsed state -- a witness of the times with the greatest possible symbolic value: Einsturz (collapsing), Neubau (rebuilding), Grundstück (lot). DVD is NTSC all-region format.
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CD/DVD
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MIG 90532CD
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"When the band Einstürzende Neubauten was being founded in 1980 there were hardly any others that could have been compared to them. Instead of playing conventional instruments, the band used tools and other objects of daily use to create atonal industrial collages predicting a near downfall (Kollaps). They started with a destructive and nihilistic basic attitude that corresponded to the zeitgeist of post-punk in the early 80's; however, the realization could not be any more radical than this: percussionist F.M. Einheit maltreating the stage with a power drill, mastermind and singer Blixa Bargeld playing the guitar with an electric shaver. If there existed any parallels, then to 'musique concrete' at best. But very soon, nearly unnoticed by their steadily growing community of fans, the picture refined: at an early stage, Blixa Bargeld rejected already comparisons to the British oil barrel beating epigones of Test Department or SPK and during an interview I had with him in 1985, he wondered why the parallels to a group like Ton Steine Scherben could be neglected carelessly. Indeed, the Neubauten managed to escape pure industrial clichés very fast by their individuality, sophistication and above all, their lyrical substance. Even without blaring metal, on albums like Die Zeichnungen des Patienten O.T. and 5 auf der nach oben offenen Richterskala the Neubauten were able to produce gloomy, filgrane and spheric soundscapes ('Armenia', 'Kein Bestandteil sein'). The Rockpalast concert at the Philipshalle in Düsseldorf combines in a unique and compact way all the songs that were relevant and had shaped the band's style (according to the criteria formulated by Bargeld) to this date. The interaction of the line-up which at that time featured Blixa Bargeld, Alexander Hacke, N.U. Unruh, F.M. Einheit and Mark Chung has hardly been captured as perfect and so to the point as in this film document."
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2LP
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POTOMAK 133951
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2022 restock; double LP version. 140 gram vinyl. Includes download code. Einstürzende Neubauten have discovered sounds beyond the pain barrier, the beauty of dissonance and the aesthetics of the scrapyard. They are regarded as the most important engines in the development of new musical strategies; Hardly another German band has characterized the music landscape as lastingly. Their influence on the music world was, and is, as great as their timeless character. Once fully set in motion - by West Berliners Blixa Bargeld, NU Unruh and Alexander Hacke in the early 1980s - Einstürzende Neubauten have pressed on regardless. Indeed since percussionist Rudolf Moser and former Die Haut guitarist Jochen Arbeit joined in 1997, the current Einstürzende Neubauten line-up has not only been their longest lasting; going on the evidence gathered here, it's arguably their broadest ranging and most fruitful partnership, with Rudi and Jochen always gamely responding to the musical challenges posed by NU Unruh's battery of invented instruments and devices. Along with multi-instrumentalist Alex Hacke, who took over bass after the departure of Mark Chung (after their 1992 album Tabula Rasa) and FM Einheit (during the recording of 1996's Ende Neu (POTOMAK 919821/919822)), they willingly switch between their chosen instruments and NU Unruh's inventions, sounding the depths, tapping, scratching and hammering out beats, or drawing haunting tones from the seemingly most unforgiving of source materials presented to them, invariably in the service of the song. The earliest track here is a newly mixed version of "Haus Der Lüge", the title track of their 1989 album Haus Der Lüge (POTOMAK 820001/820002); except it's now adorned with freshly recorded trombone and string parts, which the group wanted on the original but couldn't afford, so had to use synth simulations instead. Five tracks are taken from their 2000 album Silence Is Sexy (POTOMAK 957051/957052). During the 2000s, Einstürzende Neubauten's resourcefulness extended beyond the stage and the recording studio into the economics of alternative music practice. Two Greatest Hits tracks, "Dead Friends (Around The Corner)" and "Ein Leichtes Leises Säuseln", originated on their Supporters Album #1 (2003), which in publicly modified form became Perpetuum Mobile (Mute, 2004). Now as then as always, declares Greatest Hits's newest track "How Did I Die", "The difference makes the song".
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2LP
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POTOMAK 134001
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Limited double LP version. 180 gram vinyl. Includes lyric sheet, download code, and five 12" posters. Einstürzende Neubauten have discovered sounds beyond the pain barrier, the beauty of dissonance and the aesthetics of the scrapyard. They are regarded as the most important engines in the development of new musical strategies; Hardly another German band has characterized the music landscape as lastingly. Their influence on the music world was, and is, as great as their timeless character. Once fully set in motion - by West Berliners Blixa Bargeld, NU Unruh and Alexander Hacke in the early 1980s - Einstürzende Neubauten have pressed on regardless. Indeed since percussionist Rudolf Moser and former Die Haut guitarist Jochen Arbeit joined in 1997, the current Einstürzende Neubauten line-up has not only been their longest lasting; going on the evidence gathered here, it's arguably their broadest ranging and most fruitful partnership, with Rudi and Jochen always gamely responding to the musical challenges posed by NU Unruh's battery of invented instruments and devices. Along with multi-instrumentalist Alex Hacke, who took over bass after the departure of Mark Chung (after their 1992 album Tabula Rasa) and FM Einheit (during the recording of 1996's Ende Neu (POTOMAK 919821/919822)), they willingly switch between their chosen instruments and NU Unruh's inventions, sounding the depths, tapping, scratching and hammering out beats, or drawing haunting tones from the seemingly most unforgiving of source materials presented to them, invariably in the service of the song. The earliest track here is a newly mixed version of "Haus Der Lüge", the title track of their 1989 album Haus Der Lüge (POTOMAK 820001/820002); except it's now adorned with freshly recorded trombone and string parts, which the group wanted on the original but couldn't afford, so had to use synth simulations instead. Five tracks are taken from their 2000 album Silence Is Sexy (POTOMAK 957051/957052). During the 2000s, Einstürzende Neubauten's resourcefulness extended beyond the stage and the recording studio into the economics of alternative music practice. Two Greatest Hits tracks, "Dead Friends (Around The Corner)" and "Ein Leichtes Leises Säuseln", originated on their Supporters Album #1 (2003), which in publicly modified form became Perpetuum Mobile (Mute, 2004). Now as then as always, declares Greatest Hits's newest track "How Did I Die", "The difference makes the song".
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POTOMAK 133952
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Einstürzende Neubauten have discovered sounds beyond the pain barrier, the beauty of dissonance and the aesthetics of the scrapyard. They are regarded as the most important engines in the development of new musical strategies; Hardly another German band has characterized the music landscape as lastingly. Their influence on the music world was, and is, as great as their timeless character. Once fully set in motion - by West Berliners Blixa Bargeld, NU Unruh and Alexander Hacke in the early 1980s - Einstürzende Neubauten have pressed on regardless. Indeed since percussionist Rudolf Moser and former Die Haut guitarist Jochen Arbeit joined in 1997, the current Einstürzende Neubauten line-up has not only been their longest lasting; going on the evidence gathered here, it's arguably their broadest ranging and most fruitful partnership, with Rudi and Jochen always gamely responding to the musical challenges posed by NU Unruh's battery of invented instruments and devices. Along with multi-instrumentalist Alex Hacke, who took over bass after the departure of Mark Chung (after their 1992 album Tabula Rasa) and FM Einheit (during the recording of 1996's Ende Neu (POTOMAK 919821/919822)), they willingly switch between their chosen instruments and NU Unruh's inventions, sounding the depths, tapping, scratching and hammering out beats, or drawing haunting tones from the seemingly most unforgiving of source materials presented to them, invariably in the service of the song. The earliest track here is a newly mixed version of "Haus Der Lüge", the title track of their 1989 album Haus Der Lüge (POTOMAK 820001/820002); except it's now adorned with freshly recorded trombone and string parts, which the group wanted on the original but couldn't afford, so had to use synth simulations instead. Five tracks are taken from their 2000 album Silence Is Sexy (POTOMAK 957051/957052). During the 2000s, Einstürzende Neubauten's resourcefulness extended beyond the stage and the recording studio into the economics of alternative music practice. Two Greatest Hits tracks, "Dead Friends (Around The Corner)" and "Ein Leichtes Leises Säuseln", originated on their Supporters Album #1 (2003), which in publicly modified form became Perpetuum Mobile (Mute, 2004). Now as then as always, declares Greatest Hits's newest track "How Did I Die", "The difference makes the song".
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POTOMAK 825171
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2022 repress. Includes a large format 12-page booklet. Originally released in 1981, Kollaps is the seminal, form-destroying debut album by German industrial pioneers Einstürzende Neubauten (trans. "Collapsing New Buildings"). The band's use of junk metal, power drills, jackhammers and other surprising instrumentation would come to define their challenging and continually inventive career, making them not only one of the originators of industrial music, but one of the world's most influential and far-reaching forces at the intersection between avant-garde and rock music. Formed in 1980 in the wave of the Dadaist movement Die Geniale Dilletanten, after a series of devastating live performances and personnel changes (one of which briefly involving electronic musician Gudrun Gut), the band's line-up cemented itself with core members Blixa Bargeld, F.M. Einheit (previously of Hamburg-based post-punk band Abwärts) and N.U. Unruh. On Kollaps, a violent collision of urban primitivism and punk sensibilities, the trio declared war on every conventional way of listening, combining an intense mess of atonal guitar drones with brutal scrap metal percussion. At a time in Germany in which the wall encircling West Berlin transformed the city into a state-subsidized, near-paradisiacal freak-enclave for artists, Einstürzende Neubauten offered cathartic cascades of noise, employing steel parts, tin drums, drills, hammers, saws and untuned electric guitars, all crowned by Bargeld's bloodcurdling screams and feverish, apocalyptic texts. Kollaps, with its atonal essence, embodied exactly what the title suggested: decay and destruction, illness, doom and death. Years later, with the fall of the Berlin wall behind it, Kollaps still sounds as radical and extreme an artistic statement as ever.
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POTOMAK 957051
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2023 restock; gatefold vinyl reissue of Einstürzende Neubauten's Silence Is Sexy, originally released in 2000. This vinyl double album contains the track "Pelikanol," first available as a bonus track with the 2000 release of the album and now for the first time available on vinyl. Silence Is Sexy finally receives a long-awaited reissue on the band's own label Potomak. The element of surprise was and continues to be routine for Einstürzende Neubauten. On Silence Is Sexy they masterfully celebrate the unexpected in the exploration of silence. It is a wonderful album in the classical Neubauten sense; lyrical and melancholy. It's a musical coming-of-age from metal-defying scrap iron sound to constructed melodiousness, with a familiar rhythmic undertow -- playful, arrogant, poetic, subversive, dandified and mature. From its first release in 2000 (marking the 20-year existence of the band) to date, it has doubtlessly remained the group's most complex work and the most fascinating in its evolution. It shows the Neubauten universe from both a known, emotionally moving side, as well as one that is deliberately constructive. It clearly breathes the inimitably rough Neubauten handwriting, while Blixa's voice cuts through intellectual and cryptic texts. It is carried by metal sounds, from which individual instruments can almost no longer be extracted -- and by silence. Ultimately, nearly inaudible tones or laughter in the right place can seem more destructive than the most enduring rage. This is an album that won't be ignored; a unique appearance in the history of German rock music. 180 gram audiophile pressing.
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POTOMAK 957052
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2018 repress. Reissue of Einstürzende Neubauten's Silence Is Sexy, originally released in 2000 from singer Blixa Bargeld and his band partners (N.U. Unruh, Alexander Hacke, Jochen Arbeit and Rudolf Moser). A concept of "conceptlessness" was created at that time from a spontaneous idea (many thought it was an April Fool's joke when Einstürzende Neubauten first stood on the stage at Berlin's "Moon" on April 1, 1980; now over 30 years ago), from which the "brilliant dilettantes" developed their own strategy against social and musical architecture using metal pipes, feathers and machines. Blixa Bargeld constructed metaphor-laden poetry around which unique worlds of sound were built up from objects of the most varied origins. The band discovered sounds beyond the pain barrier, the beauty of dissonance and the aesthetics of the scrapyard. They are regarded as the most important engines in the development of new musical strategies. Hardly another German band has characterized the musical landscape as lastingly as Einstürzende Neubauten. Their influence on the music world was and is as great as their timeless character. Silence Is Sexy finally receives a long-awaited reissue on the band's own label Potomak. The element of surprise was and continues to be routine for Einstürzende Neubauten. On Silence Is Sexy they masterfully celebrate the unexpected in the exploration of silence. It is a wonderful album in the classical Neubauten sense; lyrical and melancholy. It's a musical coming-of-age from metal-defying scrap iron sound to constructed melodiousness, with a familiar rhythmic undertow -- playful, arrogant, poetic, subversive, dandified and mature. From its first release in 2000 (marking the 20-year existence of the band) to date, it has doubtlessly remained the group's most complex work and the most fascinating in its evolution. It shows the Neubauten universe from both a known, emotionally moving side, as well as one that is deliberately constructive. It clearly breathes the inimitably rough Neubauten handwriting, while Blixa's voice cuts through intellectual and cryptic texts. It is carried by metal sounds, from which individual instruments can almost no longer be extracted -- and by silence. Ultimately, nearly inaudible tones or laughter in the right place can seem more destructive than the most enduring rage. This is an album that won't be ignored; a unique appearance in the history of German rock music.
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POTOMAK 826142
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2002 release. This is the third album by Einstürzende Neubauten, also known as Halber Mensch, originally released in 1985. The album opens with the startlingly oppressive, almost fully a cappella title track, with contrapuntal, atonal, en masse chanting. The album progresses to include quite a repertoire of electronically-generated sounds, finding the band developing their mishmash of industrial experimentation matched by terrifying clangs, stomps, and of course, the theatrical, poetic vocal delivery of Blixa Bargeld. An incredibly aggressive album, with insistent, pounding rhythms and razors on metal, and Bargeld's voice dominating your dreams for a month after listening. Members include: Blixa Bargeld, Mark Chung, F.M. Einheit, Alexander Hacke, and N.U. Unruh. Housed in a six-panel tri-fold digipack including an attached 6-page booklet with lyrics in German and English. Includes 3 bonus tracks, including a remix of "Yü-Gung" by Adrian Sherwood.
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POTOMAK 826141
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2023 repress; LP version. This is the third album by Einstürzende Neubauten, also known as Halber Mensch, originally released in 1985. The album opens with the startlingly oppressive, almost fully a cappella title track, with contrapuntal, atonal, en masse chanting. The album progresses to include quite a repertoire of electronically-generated sounds, finding the band developing their mishmash of industrial experimentation matched by terrifying clangs, stomps, and of course, the theatrical, poetic vocal delivery of Blixa Bargeld. An incredibly aggressive album, with insistent, pounding rhythms and razors on metal, and Bargeld's voice dominating your dreams for a month after listening.
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POTOMAK 904431
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2021 restock. Working outside normal record business market mechanisms, Einstürzende Neubauten recorded this album over some 200 days in their own studio funded by their world-wide network of subscribing supporters via www.neubauten.org. Possibly informed by the title of 2000's Silence Is Sexy, the word on the international music scene was that Einstürzende Neubauten had become calmer, quieter even. Alles Wieder Offen blows this assumption out of the water; it is an urgent and compelling album in every aspect. The instruments do not exhaust themselves by a consumptive struggle against each other as they might have on prior recordings, but instead create an unprecedented fusion of Einstürzende Neubauten-typical instruments with conventional ones. Alexander Hacke's bass has never sounded warmer, Jochen Arbeit's guitar more graceful, the metal of Rudolf Moser and the percussion of N.U. Unruh more unsettling and diverse, or Blixa Bargeld's voice more mercurial yet forceful. It's the little details that first draw the attention: Jochen Arbeit's whizzing guitar on "Unvollständigkeit," seeming to anticipate the outburst that follows: a rain of light, falling aluminum sticks; the way Alexander Hacke electronically deconstructs Rudolph Moser's rounded, flowing rhythm on "Weilweilweil"; the deft combination of uplifting organ and the almost tender feedback that rends the sky open on "Nagorny Karabach." This album also is very conscious of the band's history. On a lyrical level, "Unvollständigkeit" is a sister piece to both "DNS/Wasserturm" (1983) as well as "Redukt" (of Silence Is Sexy, 2000); "Nagorny Karabach" refers to "Armenia" (1983), which is the sun of the EN-cosmos; "Von Wegen" quotes both their first single and a line from the song "Sehnsucht" from Kollaps (1981). Moreover, musically "Von Wegen" mirrors the structure of "Zerstörte Zelle" (1987). "Susej" is based around a rhythm guitar figure that Bargeld recorded in a flooded cellar of the Hafenklangstudio in Hamburg in the early '80s. Many layers have deposited themselves around the group's original nucleus. At the same time, the energy and the sheer willpower of the early days is still powerfully evident here. Perhaps the most emotionally-affecting and intellectually-stimulating album of Einstürzende Neubauten's career. Gatefold with full color printed inner sleeves.
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POTOMAK 826502
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Digitally-remastered 2002 release. This is the fourth album by German avant-garde industrial band Einstürzende Neubauten, originally released in 1987. The bonus track "Adler Kommt Spaeter" is an early version of "Zerstörte Zelle." Considerably lower-key than all their previous releases, Fünf Auf Der Nach Oben Offenen Richterskala (trans. "Five On The Open-Ended Richter Scale"), with especially puzzling, almost country-rock track "Morning Dew," sung in English, but with moments of whip-cracking and atomic explosions. There's the same attention to rhythmic assault on this record as on the others, but there's a quieter, more sinister, darker, lower-key ambience at work here, with Blixa Bargeld's vocals right at the center-front of the mix, as he experiments with breath, lower pitches, whispers, and barely-audible squeals. There's a barely-restrained, beautiful tension here that never gets resolved, sounding as if the band is holding itself back from complete annihilation. CD is housed in a 6-panel tri-fold digipack with an attached 10-page booklet of lyrics in German and English.
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POTOMAK 826501
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2022 repress; LP version. Digitally-remastered 2002 release. This is the fourth album by German avant-garde industrial band Einstürzende Neubauten, originally released in 1987. The bonus track "Adler Kommt Spaeter" is an early version of "Zerstörte Zelle." Considerably lower-key than all their previous releases, Fünf Auf Der Nach Oben Offenen Richterskala (trans. "Five On The Open-Ended Richter Scale"), with especially puzzling, almost country-rock track "Morning Dew," sung in English, but with moments of whip-cracking and atomic explosions. There's the same attention to rhythmic assault on this record as on the others, but there's a quieter, more sinister, darker, lower-key ambience at work here, with Blixa Bargeld's vocals right at the center-front of the mix, as he experiments with breath, lower pitches, whispers, and barely-audible squeals. There's a barely-restrained, beautiful tension here that never gets resolved, sounding as if the band is holding itself back from complete annihilation.
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POTOMAK 820002
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2002 release. This is the fifth album by Einstürzende Neubauten, originally released in 1989, now remastered. Highly energetic and possessed of a certain level of danceability, Haus Der Lüge was perhaps the most accessible for the band so far in terms of straightforward industrial-rock, with less grinding experimentation. However, this album is far from any sort of mainstream convention, with some of the most convincing alchemy of the best of the group's sonic clang, combined with some of the most captivating singing by Blixa Bargeld yet. The title track is a theatrical chug with the sounds of breaking glass, strings, and a strident vocal line, and "Schwindel" is a gentle, contemplative, almost spiritual drone-piece with jangly guitars, the quiet chime of wood tapped on bowls, and ascendant vocal chants. This album showcases all the best aspects of the band's musique concrète experimentation reigned in by impressive song-structure that doesn't diminish any of Einstürzende Neubauten's conceptual or ear-bashing impact. CD includes 3 bonus tracks and is housed in a 6-panel tri-fold digipack with an attached 14-page booklet of lyrics in German and English.
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POTOMAK 820001
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2023 restock; 2002 release. Gatefold LP version. This is the fifth album by Einstürzende Neubauten, originally released in 1989, now remastered. Highly energetic and possessed of a certain level of danceability, Haus Der Lüge was perhaps the most accessible for the band so far in terms of straightforward industrial-rock, with less grinding experimentation. However, this album is far from any sort of mainstream convention, with some of the most convincing alchemy of the best of the group's sonic clang, combined with some of the most captivating singing by Blixa Bargeld yet. This album showcases all the best aspects of the band's musique concrète experimentation reigned in by impressive song-structure that doesn't diminish any of Einstürzende Neubauten's conceptual or ear-bashing impact.
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POTOMAK 825172
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2003 release. Originally released in 1981, Kollaps is the seminal, form-destroying debut album by German industrial pioneers Einstürzende Neubauten (trans. "Collapsing New Buildings"). The band's use of junk metal, power drills, jackhammers and other surprising instrumentation would come to define their challenging and continually inventive career, making them not only one of the originators of industrial music, but one of the world's most influential and far-reaching forces at the intersection between avant-garde and rock music. Formed in 1980 in the wave of the Dadaist movement Die Geniale Dilletanten, after a series of devastating live performances and personnel changes (one of which briefly involving electronic musician Gudrun Gut), the band's line-up cemented itself with core members Blixa Bargeld, F.M. Einheit (previously of Hamburg-based post-punk band Abwärts) and N.U. Unruh. On Kollaps, a violent collision of urban primitivism and punk sensibilities, the trio declared war on every conventional way of listening, combining an intense mess of atonal guitar drones with brutal scrap metal percussion. At a time in Germany in which the wall encircling West Berlin transformed the city into a state-subsidized, near-paradisiacal freak-enclave for artists, Einstürzende Neubauten offered cathartic cascades of noise, employing steel parts, tin drums, drills, hammers, saws and untuned electric guitars, all crowned by Bargeld's bloodcurdling screams and feverish, apocalyptic texts. Kollaps, with its atonal essence, embodied exactly what the title suggested: decay and destruction, illness, doom and death. Years later, with the fall of the Berlin wall behind it, Kollaps still sounds as radical and extreme an artistic statement as ever. This expanded digipack reissue includes 10 bonus tracks, including 9 tracks from Stahldubversions, a rare 1982 cassette release. CD comes housed in a deluxe six-panel tri-fold digipack with 23-page attached booklet.
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POTOMAK 819902
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2002 release. Originally released in 1983, Einstürzende Neubauten's second album marks a radical progression in the band's sound as well as a revolutionary step forward in the realms of industrial and experimental music. Bassist Marc Chung (ex-Abwärts) and electronics engineer Alexander Hacke (later a member of Crime And The City Solution) joined the band during this time, and singer Blixa Bargeld also became a full-time member of Nick Cave And The Bad Seeds. Despite each members' background, Einstürzende Neubauten's ethos -- "Destruction is not negative, you must destroy to build" -- treaded on ground that was explicitly anti-music. Through their intuitive compositional approach and application of found, industrial objects into song forms, the band's sonic trajectory was intent on generating entirely alternate modes of music-making. In contrast to the all-out destructive barrage of their debut, however, Zeichnungen Des Patienten O.T. reveals an astonishing maturity in its varied and dynamic range of textures while still being no less uncompromising. From the gritty live wire pulse of opening track "Vanadium-I-Ching" to the disorienting field recording and jarring mechanical upheaval of "Hospitalistiche Kinder/Engel Der Vernichtung" to the panicked steel abrasions of "Neun Arme," this album is a masterpiece of what-the-fuck urban primitivism. Most effective of all is "Armenia," one of the most essential songs the band has ever made, with its subtle, slow-building tension and haunting Armenian orchestration taking Bargeld's signature inhuman screams to uncharted levels of psychological turmoil. This digitally-remastered reissue includes 3 bonus tracks and comes housed in a deluxe six-panel tri-fold digipack with an attached 16-page booklet of lyrics in German and English.
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POTOMAK 819901
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2022 repress; 2002 release. LP version. Originally released in 1983, Einstürzende Neubauten's second album marks a radical progression in the band's sound as well as a revolutionary step forward in the realms of industrial and experimental music. Bassist Marc Chung (ex-Abwärts) and electronics engineer Alexander Hacke (later a member of Crime And The City Solution) joined the band during this time, and singer Blixa Bargeld also became a full-time member of Nick Cave And The Bad Seeds. Despite each members' background, Einstürzende Neubauten's ethos -- "Destruction is not negative, you must destroy to build" -- treaded on ground that was explicitly anti-music. Through their intuitive compositional approach and application of found, industrial objects into song forms, the band's sonic trajectory was intent on generating entirely alternate modes of music-making. In contrast to the all-out destructive barrage of their debut, however, Zeichnungen Des Patienten O.T. reveals an astonishing maturity in its varied and dynamic range of textures while still being no less uncompromising.
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POTOMAK 919822
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2021 restock. Einstürzende Neubauten's Potomak label reissues their classic 1996 release, Ende Neu -- originally released on the Mute label, now available with digipak CD artwork and also reissued for the first time on vinyl. On this release, the quintessential scientists of the post-avant-garde abstain from focusing on listener disintegration tactics as they did on prior albums, but opt instead to hone their craftsmanship in new compositional areas. Some followers of their earlier material might object to the obvious and comparatively conventional song structure and style that is displayed on Ende Neu -- picking up a power tool to highlight a piece rather than centering the entire work around it, or leaving a stage before setting it ablaze -- but the destruction has already been performed, and here they erect a brave new anti-building of musical art. Exploring intricate processions of time and toying with melodious harmonies, this album reveals Blixa Bargeld and company maturing gracefully. The opening cut, "Was Ist Ist," is a furious, fast-paced slander of the greediness of mankind while simultaneously serving as a tongue-in-cheek remark on how absolute, scientific power overrules impossibility. From there, Ende Neu continues to musically rewrite the band's style, using familiar topics such as ethereal chaos ("Die Explosion Im Festspielhaus"), cosmic complacency ("The Garden"), revolt ("Installation Nº.1"), and even a Kafka-esque piece, "Der Schacht Von Babel." This was the band's first release after the departure of founding band member Mark Chung, and it is obvious that the remaining members took the time to contribute to the void left by his departure. Ende Neu delivers a precision-fed matrix of audio-encrypted knowledge in a manner not like the chaotic Neubauten of the early '80s, but more strategic, and more mature. Dark, focused explosions, with theatrical strings and tightly-wound vocal structures. This reissue includes reworked artwork and the CD version contains the bonus track "Bili Rubin," plus videoclips and sound samples.
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