Einstürzende Neubauten

“被摧毁的新建筑”—— 一支残酷暴躁的德国工业噪音乐团。1980年成立于德国柏林。如同他们的名字一样，EN的音乐就像是工业社会的末日悲歌，用近乎恐怖的力量击打着自己麻木的身体，暴露出一种无路可走的绝望。他们使用钢钻、重锤、刀片、废弃的金属缆绳来演奏音乐，仿佛要碾碎所有的一切，在一种极端与决裂的状态中引发对于人类物化的深层思索。 Einsturzende Neubauten直译指新建筑物的崩溃，代表摧毁一切新事物的意思。他们通过音乐精确地解释了“工业音乐”的概念。在他们的编曲及配器中使用了包括气锤、接合混频器在内的诸多令你无法想象的“重型工具”，和传统的摇滚乐乐器（如吉它、贝司、鼓）配合使用。Blixa Bargeld（现在是Nick Cave的吉它手）是对Trent Renzor影响很大的“工业音乐”先驱者之一，他有着英俊而又略带痛苦冷峻的外表，在黑色的皮衣下，刺青的皮肤和赤裸的身躯犹如他的信念：表演就是一种发泄，爆发出怒火和力量。在舞台上，Bargeld总是不停地折磨他手中的乐器，发出地狱恶鬼般的声音。贝司手Mark Chung也给予“滑把吉它”新的意义，他顺着一根特制的加长吹管，把贝司弦在上面滑来滑去。那时Einsturzende Neubauten的每一次表演都充满令人窒息的气氛。1983年，他们在一所洛杉基老剧场的舞台周围有目的地撒上汽油，向那些浸泡在汽油中的陈年乾地板抛出火种……对下面的观众来说，这种刺激带来的感觉—麻木而又永远让人难以置信，突然产生的恐惧快感就象急速掠过，逼近剧场旧窗帘的火焰，但转瞬即失。俗语说：永远不要在拥挤的剧院中叫喊“失火啦！”。Einsturzende Neubauten没有喊，他们只是有预谋地放了一把“火”。他们的每一次表演都象是恐怖主义行动。
 
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.