Customer Reviews

Five on the Open-Ended Richter Scale

5 star:		(4)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

I have all of Einstürzende Neubautens' releases in one form or another (except for their post 2000 releases, sadly). This one I have on LP and I invite anyone who cares to look at the LP next time you are in a record shop because it's cover is far more beautiful than the CD version. The LP has silhouetted images of the band in modern-dance poses, their fingers, legs and hair like a beautiful choreography by Isadora Duncan. I'm not sure why they changed the look for the CD, life is funny that way. Of all their wonderful albums, this and Haus der Luge are my absolute favorites. They come from a similar pinnacle of their long and varied career where they coaxed each piece of metal, every giant spring, bucket of sand, etc. into a musical tapestry of pulsating rhythm. Blixa Bargeld's voice has come a long way from Negativ Nein's frightening scream, and on this album he manages to sing in a whisper, a chant and of course, his trademark screech that sounds less like a voice than it does a drill boring it's way through a bell.

This album is more hypnotic and, at times, even cozy. Like sitting in the worlds most comfortable chair watching the fireplace blaze so fierce and brilliant that it burns down the entire room, but you are too comfortable and mesmerized to move.
Fuenf Auf Der Nach Oben Offenen Richterskala contains what I think is their third English song. It's a cover of Tim Rose's Morning Dew (more people should get into Tim Rose). Their version is definitely much different than Tim Rose would have ever dreamed, even in his less than lucid moments. Morning Dew is one of the several highlights of this album, though, Ich Bin is more widely praised. MONDIMIDOFRSASO (the days of the week, I love the acoustic bit at the end), Zerstoerte Zelle and Kein Bestandteil Sein are my favorites.

Anyone reading this probably has been drawn to Einstürzende Neubauten for one reason or another. They are still one of the most important industrial acts out there, as well as one of the genres godfathers. Blixa's work with Nick Cave has been mutually rewarding. Fans of either should cross reference. Whatever the reason you came this far is, start with this album (or Haus Der Luge) and then move on to their three volumes of Strategies Against Architecture. This is a fantastic album.

If you plan to buy this album, please don't buy the version distributed by Thirsty Ear/Some Bizarre Records. The company has never paid the band for its recordings, and NONE of your purchase price will go to the makers of this exceptional music.

Another version is available through Indigo Records, and the group does get paid for those copies.

14 years ago I saw Einstürzende Neubaten live in action, in my hometown of Zagreb, Croatia. That concert still remains among the ones that stand out. I remember how surprised I was to see and hear how melodiously they sounded, especially given that their instruments consisted mainly of pneumatic drills, hammers, springs, chainsaws and the like. Only "conventional" instrument played was an electric guitar Blixa Bargeld played with his right hand only. It had 2-3 strings broken and it didn't matter. Since then they have reached beautiful artistic balance between the "conventional" and "unconventional" means of musical expression. Like all the best, timeless works of art, their music now defies categorization. "Fünf auf der nach oben offenen Richterscala", released in 1987, is a record of moving, pulsating, emotional music, distorted and melodic at the same time. It evokes the spirit of Nick Cave's "From Her to Eternity" (to which Blixa Bargeld contributed as a permanent member of Cave's band, The Bad Seeds) or the impact of "seductive evilness" of Diamanda Galás' "You Must Be Certain Of The Devil". Not being proficient in German, I am probably missing a lot (one song only - "Morning Dew", sort of a Berlin Blues - is sang on English), but these Berliners have made such a rounded and mature record that I don't feel the pleasure of it has been denied to me in any way. Not many German bands find their way abroad, but the ones that do (think of the Can, Kraftwerk, Tangerine Dream...) seem to be making a big and lasting impact. "Einstürzende Neubaten" are no exception in that.

Despite being called "the godfathers of Industrial music", and renowned (and by others infamous) by their unusual experiments with metals, what Einsturzende Neubauten has done in their fifth album, Fuenf .., is a further complex piece of music, especially today, while we are adrift a thousand variations of styles which, according to Blixa himself, are created months after months.

Alike the predecessors primitive pieces, "Zeichnungen" or "Halber Mensch", Blixa sings in a silent mood, whispering, but this time not yelling much, while the band swim into an eerie and brooding ambient, and the quirky and conceptual lyrics of existencialism and hallucinations (maybe?) are still present.
But it also shows the band development and maturity along the years, like the acessible cover of Tim Rose's "Morning Dew", a 5 minute melodic composition, providing a new and interesting experience here, which would proceed in future albums like "Tabula Rasa" or "Ende Neu".

Highlights here are "Zestoerte Zelle", a 7 minute piece which
almost goes through only a bass line and some whispers spoken in riddles, almost an monologue, until bursting into a higher volume and cellos evoking Blixa's act. Also, "Momidifrsaso" (and its awesome and unexpected end) and "Ich Bin", a couple of energic songs, a EN traditional stamp.

An historic album to a singular career, as I view it, of a band who was crossed between their astounding past and a possibility of making something driven to the commom strukturs.

This cd is so incredible. Dark, moving, melodic, anti-melodically minimal, pure genius. It starts with some beautiful songs, then meets its pounding, driving climax in Ich Bins & ends powerfully with very forboding, haunting minimalism. With the slow tempos & melodies, probably not what anyone expected from them when it was first released. Brutally unveering from the Neubauten musical vision. Very highly recommended.

After the wonderful 'Halber Mensch', where this band managed to combine their experimental music with a more "listenable" structure of the songs, there came another wonderful album.
'Fünf auf der nach...' is quieter, its songs develop slowly and the rage is displayed in a more moderate way. They start to consider that silence is also part of the music, and so they play with it.
'Zerstoerte Zelle' is a very good beginning, slow and with a voice that starts from barely inaudible to screaming, perfectly adapted to the music. 'Morning Dew' is a more conventional piece of music, similar to 'Sand' from the previous album. Bargeld sings in English and actually follows a conventional pattern (more or less); it's ok but not my cup of tea.
'Ich Bins' is more in the vein of 'Halber Mensch', and quite good. 'Modimidofrsaso' is maybe the more danceable song here, and one of the best. It is catchy enough to make us sing it when we stop listening to it. 'Zwoelf Stadte' is a song which develops very slowly, beginning with strange creaking sounds until Bargeld finally sings. It's quite good, and could be considered as the antecessor of songs like 'Sonnenbarke', f.ex.
'Keine Schonheit ohne gefahr' is a beautiful piece of music, between experimental and conventional, between noisy and quiet, with interesting climatic parts.
Finally, 'Kein bestandteil sein' is for me the worst song here, even it's not bad, anyway. It repeats the structure of songs like 'Zerstoerte Zelle' or 'Zwoelf staedte', but less inspired.
In conclusion, I think that this album occupies a very important place in Neubauten's development, since it deepens their search for a music which embraces everything: noise and silence, whispers and screams, agressiveness and fragility... and it's maybe better that 'Haus der Lüge' or 'Ende neu', and t the same level as 'Tabula rasa' or 'Halber Mensch'.
Superrecommended.

I played the first track ( its title translates to "Destroyed Cell" ) at a Halloween party ( this is no lie ) and was told "this scares the hell out of me " . Track two, Morning Dew, is a cover, in English. Much more conventional, at least for EN, but I still like it. Ich Bins was jungle before jungle was "jungle", in that you can only get behind the groove when you see it as the half step it is. Track 4, honestly, makes me think of Kenny Loggins. I don't know why, I only know that's NOT a good thing. But #5 more than makes up for it. Slowly evolving, with a cool guitar part, squeaky percussive effects, and ultra low bass; it is the "return to form" music fans talk about all the time. What remains is about the same. Gruff Germanic vocals, chanting, subtle strings ( they at least sound not synthesized ), found percussion, primitive guitar. Track 7 reminds me a little of early eighties Cure/ Killing Joke. Not "quiet" , just slow - but no less engaging.

this cd isn't quite as "in your face" and catchy as halber mensch, but it's just as good...what this cd lacks in pure aggression, it more than makes up for in darkness and complexity. these are some of the most epic and musical songs they have done. a couple of them have a morbid blues vibe similar to blixa's other band (nick cave and the bad seeds). overall, a very good cd recommended to anyone who likes EN or NICK CAVE.