Einstürzende Neubauten: Happy 29th (Open Thread)

The Media Landscape: Blixa Bargeld Interview: WNYU’s PunkCast (30.1.04)

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Happy 29th, Neubauten! April 1, 1980 – April 1, 2009

ON EDIT NOTE: I created a separate page for for EN/Blixa: Einstürzende Neubauten: MUSIK! The page is a video chronology of EN over the last 29 years. Some great stuff in there.(Fixes Pages are indexed in the sidebar menu.)


Nick Cave on Blixa Bargeld (from EN: 20 ans de nostalgie)

Tx to CircusofHeaven

Einstürzende Neubauten – Installation No. 1 [Live]
20th Anniversary Concert @ Columbiahalle, Berlin; 1 Apr. 2000
Disobey: It’s the Law!

Tx to MutterNacht

Einsturzende Neubauten – Redukt (Live 2000 part 14)
20th Anniversary Concert @ Columbiahalle, Berlin; 1 Apr. 2000

Tx to Malin242

Einstürzende Neubauten – Was Ist Ist (Live, Palast Der Republik, 2004)

Tx to akustica

More tidbits and EN ‘Fixes’ in the comments section. Happy 29th, EN!

6 thoughts on “Einstürzende Neubauten: Happy 29th (Open Thread)


    From 2004 – Perpetuum Mobile Interview

    Blixa on ‘channelling sounds’/Shiftting perspectives: birds, singing

    BLIXA BARGELD: I use the word medium and I use it in its full ambivalence. I do think that my main role as what I do as Neubauten especially and my main role as a singer in general is to do exactly that. For me singing has to do a bit with channelling. I do channel things that are coming from different places, I don’t even have to explain or find out where they come from. Things that are going through me are coming out in a different way. The wind, the breath and the singing are very, very closely related. Also on the record when you see it in the whole spectrum that it goes from “Ein leichtes leises Säuseln”, from the whisper that you can hear in the movement of a tree, to the storm and the tsunami.

    BLIXA BARGELD: Shanghai is very interesting. The influence on the music is in the fact that I have a different perspective: I look totally different back on Europe and I look totally different back on Berlin or Germany. It’s the first time in my life that I have a different perspective on that. That’s probably why the birds are there too. Not necessarily the bird’s perspective, but the birds. The way that I use the metaphor of the birds in there is not so much because they’re able to fly, it’s because they sing. The bird’s perspective is what they really opened up to mankind. Are we able to see things from a bird’s perspective? That is the utopian quality. The flying is just the tool that makes it possible, isn’t it? But the singing is essential for the birds and for me.

    From 1997 – Ende Neu
    Blixa on Languages, Blume, more

    Q. On “Tabula Rasa” you wrote lyrics in different languages. Why did you decide to do this?

    Blixa: Well that came out of when we started working, not particularly on this record, but in this period of time we had a commission working for a Canadian dance theatre and they were from Montreal so their speaking was already English and French . And we wrote music and songs for them which were not meant to be in German or were meant to be in either French or in English. So I wrote them in these languages and because they did not specify what language they wanted I threw in a bit of Latin just for the sake of it.

    Q. Do you find it difficult to write a lyric in either French or English?

    Blixa: No because I don’t speak French. All it takes is getting somebody who you can trust to write in a language that you don’t know. So you say “how do you do…” and you can work it out. But you just need somebody who you can trust. But I wrote it in French yes. With the help of somebody who can speak French. I wrote the Japanese thing myself. And I wrote the Latin things myself too. But then I had to ring up a professor of an old phrenology to ask if I could actually say that in Latin or not. And the Latin I used is what we would refer to as being Macaronic. You know Macaronies that is what they called in Medieval times cheap Latin. people who tried to look like they are very well educated would talk in Latin, but the Latin is Macaronie. So the Latin I write is Macaronie.

    Q. How did you get on with writing Japanese?

    Blixa: I learnt Japanese for a while.

    Q. It seems like a difficult language?

    Blixa: No the language is not difficult, the writing is difficult. The language is not difficult it has only three tenses, past, present and future. Only a normal active and a normal passive. Only two genders male and female, it’s not difficult at all. And there is nothing in the tongue that twists your tongue which is difficult to pronounce. So I would not consider Japanese to be a difficult language at all. Because it’s not in the Germanian it hasn’t got anything to do with what you remember. I can make up English quite well even if I don’t know particulars I can make it up of several other languages or Italian or something, because it’s just one mash basically. Where as Japanese has not got anything to do with it.

    Q. English is a bastardised language anyway.

    Blixa: Every language alive is a bastardised language. Every language alive is a bastardise. That is the nature of language. Language means you are bastardised (laughs).



    (excerpt) Chris Bohn, “New Musical Express”, February 5, 1983

    Blixa Bargeld and I first meet in the Cafe Mitropa, a neon stripped new wave haunt in another part of Kreuzberg, and again in London. The Mitropa might look and feel like an interior decor version of a haute couture space suit, but it has served as a blueprint for a thousand others throughout Germany. Only the white garden furniture grounds this one.

    Whatever its short coming, a new cafe society has been reared under its laboratory conditions, which also makes it ideal for observing its clientele.

    I scrutinise Blixa across the table. He makes an unlikely regular. One of his doe eyes, staring out from beneath a thatch of messy, moused hair, is marked out by black mascara. High protruding cheekbones emphasise his painful thinness. His scrawny neck disappears into an ecclesiastical collar, his feet into oversized wellingtons. In between, his body is hidden under a greatcoat clasped together with an airline seat safety belt.

    I look again and wonder just what it is about this bizarre assemblage of scowls and junkyard style that has captured the imagination of Berlin. Then he starts describing his activities which such burning intensity and a singular love of language that it all becomes clear.

    He is speaking about the unholy alliance EINSTÜRZENDE NEUBAUTEN have forced with THE BIRTHDAY PARTY, who last year left a limp London to live in Berlin, and Lydia Lunch. For the song “Neubauten”, THE PARTY’s Rowland Howard and Lunch recorded together, Blixa’s bones were miked up so as to pick the noises his chest made under the pummeling of muscular Mufti. The blows were necessarily bone crushing, otherwise how would they be heard?

    A loop made from the recording is now the rhythm track of the trios 12? “Thirsty Animal”. It is not obviously exactly what you are listening to, just as you never ultimately get to hear the sound of N.U. Unruh sawing up a side of meat (”How do you mike up dead meat??” despairs Blixa), but the experiment informs the record, and the disturbing quality of sound leaves you with an undeniably weird, queasy feeling.

    “I want to squeeze my body like a lemon”, he pronounces later. “And everything that comes out of it must be good because I’m working on the product that is Blixa Bargeld to make it better. The quality of the product is improving every year. This is the new, improved Blixa Bargeld you’re talking to! The new formula Blixa! It is a matter of using your whole person as a test object, putting your whole life forward as an experimental case”. *snippage*

    They are not facilitating the decline, simply – amorally, if you like – charting it. They are not terrorists throwing bombs. Their greatest song to date, “Kalte Sterne” (”Cold Stars”) suggests they ultimately want to create implosions as opposed to explosions.

    “Ja, implosion is much better than explosion. It sucks everything in. “Kalte Sterne”, schwarzes Loch, black hole. In physics, the cold star gets maybe 20.000 time bigger, then collapses into a black hole so powerful it even sucks in light. If we can handle all those different things, the work, music, materials etc,” concludes Blixa, starry-eyed, “if we could concentrate all those things, so everything we do is totally concentrated and totally powerful, if I could find that one sentence, we could bring the energy point to a stage high enough to bring it to a state of collapse; a final implosion to create black holes! That is my Sehnsucht, my longing. That’s the Tanz debil in me. Siva’s dancing! Siva’s dancing!”



    Blixa Bargeld Interview
    By Delfin Vigil
    San Francisco Chronicle
    Thursday, November 20, 2008

    Q. …“Blixa Bargeld’s music should be filed between” …

    Blixa: “…” and “…” In vinyl times (the ’70s), I remember being disillusioned with what I could find in any category. I remember finding records like “Sleep Gently in the Womb” by a Japanese medicine professor compiling sounds of what (an unborn) baby would hear on Side A, and on Side B connecting it with classical music. That was an excellent record. Unfortunately it melted under a lamp. I would like to be filed in categories like that where wandering spirits like myself could find me. I wish I could just say I have my own category. But then they’ll start filing other people in there, and I’m not happy with them, and what do I do then? Nothing in the filing world is happiness.

    SF Chronicle 22/11/2008
    Text HERE

    Download Audio MP3

    Blixa Bargeld on ‘Drinks with Tony’
    hosted by Tony DuShane
    (Pirate Cat Radio, San Francisco)
    November 1, 2007

    “Blixa Bargeld is the lead singer of Einsturzende Neubauten and was in Nick Cave and the Bad Seeds for over 20 years. Alles Weider Offen is the latest release by Einsturzende Neubauten. [Below is the ]full two hour radio show featuring Blixa and a bunch of Einsturzende Neubauten.

    Here’s the full radio show (Blixa on Drinks with Tony, 11 Nov 07)
    Download Audio MP3
    These are both fantastic PodCasts, from San Francisco, recorded roughly one year apart. Fantastic stuff. Must listen. 😉 Cheers. All of the stuff I’ve posted in these comments are from my personal EN archives. I’m trying to find the best stuff to excerpt and attach a link for you to follow. Enjoy. 😉



    Einstürzende Neubauten – Ich Warte – (Moscow 22.Apr.2008)

    Einstürzende Neubauten – Susej – (Moscow 22.Apr.2008)

    Einstürzende Neubauten – Sabrina (Moscow 22.Apr.2008)

    Einstürzende Neubauten – Weil Weil Weil – Moscow (22.Apr.2008)

    Einstürzende Neubauten – Tageland Weiss (22.Apr.2008)

    Einstürzende Neubauten – Lets Do it a da da (22.Apr.2008)

    LISBON: 4 MAY 2008

    Aula Magna Lisbon 4/5/08
    [5 part select edits from entire concert, HQ]

    Einstürzende Neubauten @Aula Magna 4/5/2008 pt1/5

    Einstürzende Neubauten @Aula Magna 4/5/2008 pt2/5

    Einstürzende Neubauten @Aula Magna 4/5/2008 pt3/5

    Einstürzende Neubauten @Aula Magna 4/5/2008 pt4/5

    Einstürzende Neubauten @Aula Magna 4/5/2008 pt5/5

    *More from Lisbon, (complete videos, HQ)

    Einstürzende Neubauten – Nagorny Karabach (Aula Magna)

    Einstürzende Neubauten – Dead Friends (Aula Magna)
    May 04, 2008

    Einstürzende Neubauten Die Wellen (Aula Magna)


    “Life on other planets is difficult…”

    Einstürzende Neubauten – Selbstportrait Mit Kater (1)

    Einstürzende Neubauten – Selbstportrait Mit Kater (2) — must see @ .31 (dig those crazy leg moves!)

    SIS TOUR 2000

    *Many of the The 20th Anniversary Show clips are already up on in above post and the previous one.

    Einstürzende Neubauten – Sabrina
    (Musik only, from Live in Brussels 9-15-00)


  5. 29 years of pure awesomeness ! Happy anniversary, Einstürzende Neubauten. I’m studying so I’ll just say that for now (:

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