Three years ago I travelled to Munich to see Einstürzende Neubauten play at the Haus der Kunst, a concert that coincided with the opening of an exhibition on German post-punk music at the same location. I never got around to reviewing the concert, nor did I write about the group’s appearance at the 2017 Donaufestival in Krems, one of the last concerts I saw in Austria. In truth, though, there wasn’t much difference between those appearances and Neubauten’s show last month in Geneva, so this review can stand equally as a review of those earlier two as well.
At first sight there may seem something disconcerting, maybe even safe, about the idea of a group of arch iconoclasts like Neubauten apparently treading water for the past few years, but it’s a notion that doesn’t bear very much scrutiny. In the first place, this bout of touring comes in the wake of 2014’s Lament, the soundtrack to a site-specific performance that is as emotionally affecting a piece of music as Neubauten have ever put their name to. And in the second place, 2016’s heavily ironically titled Greatest Hits compilation, around which the group’s current show is based, is very much of a piece with the tendency to self-mythologization that has characterized Neubauten’s approach over the past 37 years.
It’s become a truism, in critical writing about Neubauten, to bemoan their apparent move towards the mainstream, to complain that the sonic terrorism of their earlier years has gradually given way to a more conventionally musical approach. But to these ears, the most striking thing about latter-day Neubauten is the almost unbearable tension that they generate through their use of both conventional and home-made instruments, lurking menacingly beneath the surface and frequently erupting into states of discord that are every bit as violent and destructive as the early records and performances with which the group achieved such notoriety. This tension is inscribed deep in Neubauten’s music, from the starkly beautiful melodies that linger tellingly through their songs, to Jochen Arbeit’s miraculous shimmering guitar work, the sinister clank of NU Unruh’s percussive arsenal and the monstrous bass of Alexander von Hacke, all of it woven together by singer and lyricist Blixa Bargeld’s ferociously clever texts.
It’s not perhaps widely known that Bargeld has some help these days in delivering his lines, which is hardly surprising given how formidably dense and allusive they are. Bargeld’s guilty secret, which could readily be divined from the front-row vantage point I claimed at both Krems and Geneva, is that he has a teleprompter at the foot of his microphone off of which he reads the lyrics, controlled by means of a little clicker in his hand. On the face of it there’s something unsatisfactory about this practice, sitting ill as it does with the assumed extempore nature of live performance. Nevertheless it’s a practice I’m happy to endorse, given that Bargeld’s texts exhibit all the characteristics of what Barthes called jouissance: a text that “imposes a state of loss, that discomforts, unsettles the reader’s historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language…”
If Barthes, that arch deconstructionist, were around today, he would no doubt be amused by the idea of a group whose very name celebrates the notion of collapse, and who title their long-running series of compilation albums Strategies Against Architecture. And what these concerts showed was that jouissance – a blissful state of discomfort, disorientation, crisis and loss – continues to dwell threateningly inside the group’s music. Forever on the brink of collapse, constantly shifting between beauty and danger, Einstürzende Neubauten remain as compelling and essential as ever.