EINSTURZENDE NEUBAUTEN
Faustmusik - (1996)

One of the more curious works in Einstürzende Neubauten's long and varied career, 1996's Faustmusik is a close relative of 1991's Die Hamletmaschine, their score for an avant-garde reinterpretation of Shakespeare's play. This play, by Werner Schwab, is more of an oratorio than an opera, with the focus entirely on the recitation and singing of Schwab's German verse by Einstürzende Neubauten's lead singer, Blixa Bargeld (as Mephistopheles, appropriately enough!) and other actors. Einstürzende Neubauten's musical contribution is entirely incidental, and sounds at times like they're merely playing rehearsal tapes for a low-key, nearly ambient album behind the actors. Those who aren't fans of experimental European theater, don't speak German, and are interested primarily in hearing Einstürzende Neubauten's familiar industrial power should look elsewhere, but there's a certain creepy beauty to much of this album, particularly the nightmarish "Das Orchestrion," a slowly building cacophony of voices and drones.

http://www.mediafire.com/?bpvn46tl9ysway4

EINSTURZENDE NEUBAUTEN
Die Hamletmaschine - (1991)

The theatre and Radioplay ‘Die Hamletmaschine’ by famous German writer Heiner Müller was written in 1977 and is one of the most regarded pieces in modern German literature. Einstürzende Neubauten composed a special ‘soundtrack’ to this successful play, that not only got overwhelming reviews from both the music and theatre press, but also highest recognition from Heiner Müller himself and the composer Wolfgang Rihm, who equally composed music to this play. The CD was recorded in 1990 in the ‘Funkhaus’, the state’s radio of the still existing ‘DDR’ (the comunist East Germany) – a fact that is curious, as it is a clear hint to the lyrics of the play and the ‘Reunification’ of Germany which took place in those days. Blixa Bargeld plays Hamlet and another ‘institution’ of the Berlin art/music scene, Gudrun Gut (MALARIA! Etc.) is Ophelia… Originally released in 1991, this CD was deleted for years and is now finally re-released.

http://www.mediafire.com/?knejbgayhdvfeo1

ALEXANDER HACKE
Filmarbeiten - (1993)

Alexander Hacke was born in the proletarian district of Berlin Neukölln. A musician from the start, he joined Einstürzende Neubauten in 1980 at the tender age of 14, besides playing in numerous influential underground-groups and writing, recording, releasing and performing music under the pseudonym Alexander von Borsig. Throughout the eighties and up until today he not only collaborates with countless artists of various genres but also continues to produce records and score music for theater, feature and documentary movies. Filmarbeiten is a compilation of Hacke's early film-works.

http://www.mediafire.com/?jjwi17eanb2ule1

EINSTURZENDE NEUBAUTEN
Interim EP - (1993)

In the early '90s, no one could accuse Einstürzende Neubauten of being musically stagnant. The German industrial pioneers had evolved considerably since the early '80s, and Interim (which was recorded in 1991 and 1992 and released in 1993) is hardly a carbon copy of the band's earlier releases. By mainstream pop/rock standards, this five-track EP is more accessible than the Einstürzende Neubauten of ten years earlier. The band that gave listeners 1981's Kollaps was a hardcore industrial outfit; the Mark Chung/N.U. Unruh/Alexander Hacke/Blixa Bargeld/F.M. Einheit lineup heard on Interim combines industrial elements with a relatively melodic, if skewed, post-punk/alternative rock outlook. "Salamandrina" is more eerie than abrasive, while two versions of "The Interimlovers" (one in English, the other in German) are more Depeche Mode than Throbbing Gristle. And even the dark, ominous "3 Thoughts" isn't as abrasive and forceful as some of the group's early stuff. Inevitably, some of the longtime fans who heard this EP missed the Einstürzende Neubauten of the early '80s and longed for the days of Kollaps and Zeichnungen des Patienten O.T. But that doesn't mean that Interim is without merit — only that the EP is undeniably different from the more noisy recordings that Einstürzende provided in the beginning. Interim isn't among the group's essential releases, and it isn't recommended to those who fancy themselves industrial purists. Nonetheless, it's still a decent, respectable effort that fans of Einstürzende's '90s work will enjoy. (allmusic.com)

http://www.mediafire.com/?kzkxvcv9sk3kh31

EINSTURZENDE NEUBAUTEN
2x4 - (1984)

This is a first-time CD issue of live material from Einstürzende Neubaten's early-'80s European concerts. This entire recording was performed prior to their U.S. debut in 1984. The presentation is effective in capturing their organized chaos. Not only their effect on industrial music, but their premonitions in applying ambient and world music voices can be heard here. Surprisingly compositional and collectively whole, it is obvious why 20,000 copies of the cassette edition were sold. A darkly beautiful, orchestrated collision of deep rhythms and debris are pressed into service as music.

http://www.mediafire.com/?nzizny5uztq

EINSTURZENDE NEUBAUTEN
Grundstuck - (2005)

Grundstück (Grundstueck, also informally known as Supporter Album No. 2) is the second supporter's album by Einstürzende Neubauten, completed in the fall of 2005. It was shipped to supporters (fan club members) in October. The album was offered to supporters in two versions; one is just the audio CD itself, and the other version contains the DVD. This DVD contains material from the November 2004 Grundstück performance from Berlin (at the Palast der Republik). As Perpetuum Mobile picked up where the Supporter Album No. 1 left, so does Grundstück. Besides sharing its name with the last track on Perpetuum Mobile, the album seems to indicate that the dream is now over and opens with the potency the new day holds.

http://www.mediafire.com/?oioykhyzumm

EINSTURZENDE NEUBAUTEN
Tabula Rasa - (1993)

Einstürzende Neubauten's '90s productions may not have been anything like old fans might have expected, but Tabula Rasa tries to maintain the tradition without falling into repetition and instead brings something new to their music. Tabula Rasa is a very diverse album. Even though only songs "Die Interimsliebenden" and "Headcleaner" really stand out, every song has a catch that keeps it interesting. The keyword for Tabula Rasa is "ambience." Neubauten maintain their aggression throughout the end of of the album, and all the power and noise unbend in the 15-minute magnum opus, "Headcleaner." Before that there's 22 minutes of quiet but tight, dark ambient. The opener, "Die Interimsliebenden," may be the only relaxed song on the album, and that's why Tabula Rasa may be difficult to listen to all the way through. The tracks as single songs are very good indeed, but as a whole they form a very tight — and maybe too tight — whole. And Blixa Bargeld's weird lyrics don't ease the pressures. (allmusic.com)

http://www.mediafire.com/?wllzd4qewnd

EINSTURZENDE NEUBAUTEN
Alles Wieder Offen - (2007)

If Einsturzende Neubauten's 2007 effort Alles Wieder Offen ("All Open Again") seems to be more of a follow-up to 2000s Silence Is Sexy than 2004's Perpetuum Mobile, it could be because it delivers on EN's 2002 dream of a listener-supported official album. Mobile appeared on the band's usual home label Mute so a tour could be financed. Even if it was hardly a throwaway album, the group's hunger for progress seemed undercut by the use of air horn blasts, metal crashes, and other devices that referenced the sound that made early Neubauten so infamous. Alles, on the other hand, was paid for by "supporters" who received interim recordings and an expanded final product different from the general release with bonus tracks and a DVD. As such, it's free to explore the more difficult and subtle side of the band's music. There are moments on Alles where tension escalates into something approaching chaos, and other moments where the rhythms are mechanical, but most of the album sounds like sophisticated modern composition-meets-downtrodden pop song, as if leader and head writer Blixa Bargeld was working on a Threepenny Opera for the 21st century. Displaying Blixa's love of irony and wordplay, the title "All Open Again" refers to something less positive than it might sound. Being "open" to a different way of thinking comes at a cost in his songs, as if it's a burden. Key track and single "Weilweilweil [Becausecausecause]" questions the "endless set of appeasements" society offers in lieu of answers and represents them with zombie-like chanting of the song's title. "Don't take the advice of those/who've long since frittered their winter fat/of opportunities" it continues, but if principles aren't sacrificed in this unforgiving world one gets stuck in the land of "Nagorny Karabach," where Blixa lives "up on my mountain/in my black garden/the enclave of my choice." His lyrics are matched by the equally vivid music. Making great use of basslines, strumming guitars, and sometimes even breathing, Neubauten create something rhythmic instead of just percussive and drive home the solitude theme with stretches of silence. The big eruption of noise comes during the lone sociable song "Let's Do It a Dada," and then it's a slow slide down to the insular closer "Ich Warte [I'm Waiting]." "Ich Warte" waits for proof that "life is not an error, not error and music" and receives none, but when Blixa declares, "I'm waiting for the new language/That will be of use to me" he only needs to look as far as the wonderfully unique album he and his fellow musicians have created. (allmusic.com)

http://www.mediafire.com/?jgldtlzmnvd

*** 7" SINGLE ***
EINSTURZENDE NEUBAUTEN
Kalte Sterne (2 x 7") - (1981)

1.Kalte Sterne
2.Aufrecht Gehen
3.Ehrlicher Stein
4.Pygmäen 5. Schwarz

http://www.mediafire.com/?yimmyid4e2z

ANDREAS AMMER & FM EINHEIT
Radio Inferno - (1993)

F.M. Einheit, the machinist for Germany's Einsturzende Neubauten, is a regular collaborator with Andreas Ammer, who adapted the text for this radio-drama-meets-medieval-poetry version of Dante's "Inferno." Featuring the vocal talents of Phil Minton, Blixa Bargeld, and radio DJ John Peel, this makes for a surprisingly good adaptation. Blixa's shrieks and whistles harmonize nicely with the amazing vocal range Minton possesses; their path is described by Peel's archetypal radio DJ voice. A good portion of Neubaten shows up to provide instrumentation for the fray, an odd sound sculpture drawing elements from both media-manipulation sound sculpting and old-fashioned experimental rock. The tone varies wildly at times, jumping from a grinding industrial beat to an operatic soprano and back, but musical themes are woven throughout, giving the piece a continuity it needs. The adaptation by Ammer is excellent, straying from the text where appropriate but maintaining the tone of the whole quite well. One of the better examples of what experimental music can produce in an accessible vein.

Part 1

http://www.mediafire.com/?eja0gnirt0w

Part 2

http://www.mediafire.com/?nt0yj3zjqjd

EINSTURZENDE NEUBAUTEN
Jewels - (2007)

The 15 tracks that eventually comprised the release of The Jewels were first made available one at a time only as website downloads at various points between 2006 and 2007 before being compiled onto a standard CD release. Using a game (called "DAVE," for the record) that had both deliberate and enigmatic instructions on each card, the band generated ideas — without telling each other what their cards were inscribed with — that were then used to construct and complete tracks within a day or two. Adding another unconventional element to the process, the lyrics were based on dreams. Yet while the methodology might have been unusual, all told the results really aren't uncharacteristic of Einstürzende Neubauten, if perhaps not as noisy as what listeners familiar with their most celebrated work might anticipate. There's not much in the way of conventional pop or rock song melody, of course, but there's a fairly even and creative spread of textures both ambient and clamorous, with both English and (more often) German lyrics that are more spoken than sung in nature. The combination of elements is starker and sparer than in most electronic or ambient music, however, and while the unpredictable and incongruous elements are suggestive of dreams, those dreams are sometimes fairly serene as well as fairly disturbing. Perhaps the most memorable soundbite of the lot is the eerie quasi-prayer chant "am I only Jesus, I am only Jesus" that underscores "Am I Only Jesus?" (allmusic.com)

http://www.mediafire.com/?sharekey=300c8e89fa751bc3ab1eab3e9fa335cab66f40b1711fb208

EINSTURZENDE NEUBAUTEN
Live In Kunstkopfstereo - (1980)

I posted this mainly for the die -hardest of Neubauten fans to enjoy. A 40 minute recording of the bands first ever live performance from the Diskothek Moon in Berlin on April 1st 1980. This was originaly released on cassette and sold at Blixa Bargeld's Eisengrau shop in Goltzstrasse, Berlin. Interestingly, it was limited to only 20 copies. Although the sound quality is not the greatest it will surely be a cool addition to any Neubauten fan's collection.

http://www.mediafire.com/?sharekey=300c8e89fa751bc3ab1eab3e9fa335ca96eab2490be2db6f

EINSTURZENDE NEUBAUTEN
Haus Der Luege - (1989)

The final Einsturzende album of the 1980s found the group wrapping up that decade on a high note; while Haus der Luege barely lasts over half an hour, it's designed for maximum impact, and that it creates. The seasoned five-person lineup clatters and bangs away with fire, though the focus is more on straightforward industrial-tinged rock, as opposed to full-on industrial banging and relentless sonic experimentation. Things fully fire after an alternating voice/noise "Prolog" with "Feurio!," one of the band's strongest singles. With an ominous death-disco rhythm stop-starting under it all, swirling wails and cries in the mix, and sudden guitar lines filling out the sound, Bargeld's declamatory vocal approach in full effect. It's perhaps one of the most "industrial dance" songs the group's ever done, but it feels like a logical conclusion of their sound rather than a sudden embrace of Wax Trax! esthetics. Equally impressive is the title track, starting with a soft chime before turning into a dangerously funky aggro-crawl. Much of the album's second half is taken up by the lengthy "Fiat Lux," broken into three separate sections. Low in volume and astonishingly subtle until its final, overtly rhythmic conclusion, it's a testament to Einsturzende's abilities at the opposite end of where they are most often stereotyped as working, ambient instead of full-on noise. Bargeld's singing and a soft, central keyboard loop provides the main hooks for the piece, even when an array of random samples and noises starts surfacing about halfway through the track. Add in some blunt, interesting cover art and an appreciative essay from writer Biba Kopf, and Haus der Luege is another Einsturzende success. (allmusic.com)

http://www.mediafire.com/?sharekey=300c8e89fa751bc3ab1eab3e9fa335ca00dcaa6f47f5c687

EINSTURZENDE NEUBAUTEN
Kollaps - (1981)

Einstürzende Neubauten's first album, as one might imagine, is their most primitive and radical effort, the purest expression of their original aesthetic. This makes the album both historically significant and conceptually intriguing, of course, but what's most interesting about this album is that it still sounds surprising decades after its release. Often, albums that are considered extreme art statements upon their debut sound almost quaint a few years later, but while Kollaps perhaps sounds less extreme to ears that heard industrial music turned into disco pabulum by the likes of Nine Inch Nails than it did before, songs like the eight-minute title track and the rumbling live closer, "Negativ Nein," are still a fascinating blend of rhythm and random bashing, tonality and atonality, with anguished vocals by Blixa Bargeld that often seem to have little connection with anything else in the piece. The brief tracks, like the 80-second "Sehnsucht," are even more extreme explorations of pure noise. Starting as early as the next album, Einstürzende Neubauten would begin slowly introducing more mainstream musical concepts into their aesthetic, making Kollaps as undiluted a listening experience as there is in the entire catalog. (allmusic.com)

http://www.mediafire.com/?ezmtwkne2ny

BLIXA BARGELD
Commissioned Music - (1995)

Creepy, sparse, and quietly disquieting, Commissioned Music is a compilation of Blixa Bargeld's music for the play Dumpfe Stimmen and the film Jahre Der Kalte. Though intended for backgrounds, Bargeld's work here is anything but wallpaper. Much of the minimalist material is downright hypnotic. The two-minute bass march of "Indoktrination" brings to mind a procession of lemmings into a death pool, replete with what sounds like knives being sharpened. "Blackout Music" is layers upon layers of Bargeld's screeching voice, perfect for shooing away trick or treaters and unwelcome visitors. Closing out the tracks for Dumpfe Stimmen is a beautiful and uplifting (no, really!) rendering of "Somewhere Over the Rainbow," featuring plaintive piano, drones, brushed drums, and Blixa's comforting crooning. If you ever wish to get a view of the sunrise from a gutter in Berlin, here's your soundtrack. The three brooding, piano-based tracks for Jahre Der Kalte are based on a Schubert cadence. (allmusic.com)

http://www.mediafire.com/?sharekey=300c8e89fa751bc395af63b7d44918aa39623c563df5325e