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VINE VOICEon 13 August 2001
I came to this album completely cold, having previously been aware of the reputation of EN as pioneers of 'found' instruments and extreme noise terror, particularly in performance, and having mentally filed them away under 'probably more entertaining in theory than in practice'. But the combination of Blixa Bargeld's other job as a Bad Seed and the utterly under-whelming state of much mainstream album chart material lead me to try this, particularly as I already have plenty of 'minimalist' music in my racks. So, at first listen I thought - oh yes, yes indeed. Pretty accessible in fact, and not especially scary or 'difficult' at all, with the notable exception of the final track 'Pelikanol', which I assume is an interpretation of the headache which follows sniffing or eating the school glue for which it is named. That's the bad news then, and as it comes on a separate CD you could always use it as a coaster. As for the rest of it - there are recognisably real melodies in there, many of them of a slow burning nature that matches the generally sparse arrangements. Blixa Bargeld, although not a true baritone (wish there were more of them!) favours singing softly in that low register that sounds oh-so-typically german somehow, and his voice often has a wonderful, velvety, purring quality. Many of the songs are in english, and the sleeve notes give helpful translations of the german ones. But as any fan of classical liede will attest, german really does sound pretty good sung. All the elements that you might reasonably expect, given EN's reputation, are in there too of course, including a considerable emphasis on percussion, use of unconventional instruments (including metal sheeting, pneumatic piston, T-beams and a TV set, and a lot else besides according to the sleevenotes) and a wide range of lyrical subject matter. There are even a couple of up-tempo numbers, and what sounds suspiciously like humour in places, particularly the singing concert audience at the end of 'Silence is sexy'. Personal favourites for me include the opening track 'Sabrina' and the perfectly marvellous atmospheric drone of 'Sonnenbarke'. Overall a very pleasant surprise, rather than the unlistenable po-faced teutonic noise assault that less sympathetic reviews lead me to expect. Well worth a listen, if you usually like this sort of thing, or if you just fancy exploring an eddy just outside the music mainstream.
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on 28 May 2012
a great album. a little bit different from the others but...what a great music. blixa's voice is alwais great and the bass sounds of this album are fantastic
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on 27 October 2001
The only previous Einsurzende album I'd heard was Tabula Rasa, which had some great tracks but overall I wasn't terribly pleased with. However, this is along a similar line but much much better. While there are elements of other bands I have never heard a band that sounds like this. This is by no means what you would expect to find under the term Industrial, it has many of the elements of what I love about bands like Godspeed You Black Emperor, Mogwai, maybe even Pink Floyd, but a sound all of its own. The found-sounds are not always obvious but always used to the best effect to get the right texture. This album is very intelligent both musically and lyrically. I don't even speak German, but just by reading the translations you can marvel at how Blixa gets such fascinating subjects into a few lines of a song. Redukt, for example, has some of the most thoughtful lyrics I have ever read.
The second disc, Pelikanol, is not something I would listen to again. It's very repetitive and very long, it's an experiment which doesn't really work in my opinion. However, the first disc alone is a fairly long album by itself, and yet I always want more by the time it finishes. Brilliant, and a terrible shame this band isn't more well known.
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on 31 July 2000
I listened to this CD all the way through as soon as it dropped through my letter box. . . and was initially disappointed.
After all I had heard about EN - the percussion found from junk-yards, the pnuematic drills, etc., etc, what I first heard was a slightly ordinary album with the occasional slightly strange noise and some lyrics in German.
Then I listened to it again, and again and now I can't get it out of my player. Its not classic Einsturzende but every band has to move on from the past and EN have, and it is good.
I just got to get some of the experimental stuff to satisfy my noise for noise's sake tatse.
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on 15 July 2001
I first heard the name Einsturzende Neubauten a while ago, namechecked by someone who was into the industrial scene. After a long search, I found this album in my local record shop and was instantly impressed with what was contained within. Starting with the very mellow, and prehaps the only radio friendy track, Sabrina (I Wish This Could Be Your Colour), Neubauten create an album that is totally out of place with todays easy to digest manufactured pop and nu-metal. As the album progresses the songs change tempo and all kinds of noises are present over the album. Just check at the notes to each song to what is used - jet turbines, springs and drills. This album was my first Einsturzende Neubauten CD and it won't be my last.
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on 8 December 2000
Einsturzende Neubauten continue to evolve, and this is an extension of the territory they started to explore with Tabula Rasa. Some people think EN have lost their harshness and that this invalidates them. Not true, they simply refuse to repeat them selves and are creating beautiful, subtle music that will not leave your head. Once you understand what they are trying to acheive you cannot fault their vision. Also this album shows more of their humour and Blixa's voice, which is alloed more room, showing an ever greater ability to express himself.
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on 13 June 2002
I am relatively new to the einsturzende neubauten experience but have listened to enough to say that I definitely prefer the later stuff to the old pvc wannabe industrial.
Silence is sexy is a mature with hints of blixa comedic german wit. 'Reduckt' is a particularly great neubauten song with tension being built through the use of custom built instruments.
The whirring alchemy of Einsturzende is a force to be reckoned with and this move away from the analogue bleeps of proto industrial is both moving and creative.
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on 18 April 2000
Einstürzende Neubauten are known for there use of Heavy Percussion, but on this there twentyith annaversary release they move in to new areas. This is most notable on the title track where the verses are interspursed with the sound of mainman Blixa Bargeld inhaling a ciggarette. All the songs on the albun seem to lead up to 'Die Befindlichkeit des Landes' A song which comment's on the continual re building of the bands home, Berlin. The second CD contains the track 'Pelikanol' which is best vewd as a recording of an performance peice and draws on Bargeld's celebrated 'Rade/Speak' perfomances, mixing with traditanal EN instalation musical instraments. It is with out doubt Einstürzende Neubauten's best Album for years.
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on 15 June 2000
not much here that really sparks any interest. Apart from using it for background music in RPGs, this album has little or no use whats so ever...
Hmm maybe a doorstop perhaps.
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