Einstürzende Neubauten

“被摧毀的新建筑”—— 一支殘酷暴躁的德國工業(yè)噪音樂團。1980年成立于德國柏林。如同他們的名字一樣，EN的音樂就像是工業(yè)社會的末日悲歌，用近乎恐怖的力量擊打著自己麻木的身體，暴露出一種無路可走的絕望。他們使用鋼鉆、重錘、刀片、廢棄的金屬纜繩來演奏音樂，仿佛要碾碎所有的一切，在一種極端與決裂的狀態(tài)中引發(fā)對于人類物化的深層思索。 Einsturzende Neubauten直譯指新建筑物的崩潰，代表摧毀一切新事物的意思。他們通過音樂精確地解釋了“工業(yè)音樂”的概念。在他們的編曲及配器中使用了包括氣錘、接合混頻器在內(nèi)的諸多令你無法想象的“重型工具”，和傳統(tǒng)的搖滾樂樂器（如吉它、貝司、鼓）配合使用。Blixa Bargeld（現(xiàn)在是Nick Cave的吉它手）是對Trent Renzor影響很大的“工業(yè)音樂”先驅(qū)者之一，他有著英俊而又略帶痛苦冷峻的外表，在黑色的皮衣下，刺青的皮膚和赤裸的身軀猶如他的信念：表演就是一種發(fā)泄，爆發(fā)出怒火和力量。在舞臺上，Bargeld總是不停地折磨他手中的樂器，發(fā)出地獄惡鬼般的聲音。貝司手Mark Chung也給予“滑把吉它”新的意義，他順著一根特制的加長吹管，把貝司弦在上面滑來滑去。那時Einsturzende Neubauten的每一次表演都充滿令人窒息的氣氛。1983年，他們在一所洛杉基老劇場的舞臺周圍有目的地撒上汽油，向那些浸泡在汽油中的陳年乾地板拋出火種……對下面的觀眾來說，這種刺激帶來的感覺—麻木而又永遠讓人難以置信，突然產(chǎn)生的恐懼快感就象急速掠過，逼近劇場舊窗簾的火焰，但轉(zhuǎn)瞬即失。俗語說：永遠不要在擁擠的劇院中叫喊“失火啦！”。Einsturzende Neubauten沒有喊，他們只是有預(yù)謀地放了一把“火”。他們的每一次表演都象是恐怖主義行動。
 
Along with Cabaret Voltaire and Throbbing Gristle, Germanys Einstürzende Neubauten (collapsing new buildings) helped pioneer industrial music with an avant-garde mix of white-noise guitar drones, vocals verging on the unlistenable at times, and a clanging, rhythmic din produced by a percussion section consisting of construction materials, hand and power tools, and various metal objects. Einstürzende Neubauten was founded by vocalist/guitarist Blixa Bargeld and percussionist and American expatriate N.U. Unruh in Berlin as a performance art collective; their early activities included a seemingly inexplicable half-naked appearance on the Berlin autobahn, where the duo spent some time beating on the sides of a hole in an overpass. The groups early lineup also included percussionists Beate Bartel and Gudrun Gut, plus contributor and sound engineer Alexander Van Borsig
 
Einstürzende Neubautens earliest recordings are mostly unstructured, free-form noise issued on various cassettes and singles, including their first single Fuer den Untergang, the 1981 EP Schwarz, and the 1982 album Kollaps. Some of these recordings are compiled on the Strategies Against Architecture 80-83 collection, with live shows on the cassette-only 2x4. Bartel and Gut were replaced by ex-Abwräts member F.M. Einheit (who served as Neubautens chief machinery operator) in 1983, when guitarist and electronics expert Alexander Hacke and Abwräts bassist Mark Chung also joined. A tour of England opening for the Birthday Party resulted in a contract with Some Bizarre Records, which released the slightly more structured Zeichnungen des Patienten O.T., as well as consternation from club owners and journalists over Neubautens stage demolitions and frequent ensuing violence.
 
When Nick Cave left the Birthday Party and formed his backing band the Bad Seeds, Bargeld became the guitarist and toured and recorded with Cave over most of the decade. He remained with Neubauten, however, which released Halber Mensch in 1986, showcasing its wider range of expression. The group disbanded briefly but soon re-formed, and have released albums off and on since then for Elektra, signing to Trent Reznors Nothing label for 1998s Ende Neu. While Bargeld remained a Bad Seed, Van Borsig and Hacke contributed to the remainder of the Birthday Partys recordings as Crime & the City Solution. In May 2000 Einstürzende Neubauten released the full-length Silence Is Sexy on Mute Records. Two years later they announced they were no longer interested in working with a traditional label and that their next recording would be made with the help of supporters. These supporters would pay a fee, receive exclusive material, and help fund the next official album.
 
Despite their best intentions, Einstürzende Neubauten released their 2004 album Perpetuum Mobile on Mute. The releases for supporters that appeared over the next few years helped fund the official album Alles Wieder Offen, which was released on the bands own label in 2007. Elektra reissued both Strategies Against Architecture compilations on CD, while most of the groups 80s albums remain available on the independent Thirsty Ear label.