Blixa Bargeld and Einstürzende Neubauten: German Experimental Music: 'Evading do-re-mi'

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Contents: Vorwort, Blixa Bargeld
Part I Context for Destruction: Prologue: being there and not being there
Architecture, angels and utopia
Kattrin's drum
Free to make noise
Demon Berlin. Part II Performing Destruction: Prologue: 'They were always quoting Artaud'
Strategies against the body
Strategies against the corner
Strategies against the voice
Strategies against the scream
Strategies against the text. Part III Performing Reconstruction: Prologue: 'We know we have witnesses'
A small utopia
Conclusion: to infect othersa |
Postscript
Appendices
Bibliography
Index.

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At the end of his life, Pierre Schaeffer commented that his musical and sound experiments had attempted to go beyond 'do-re-mi'. This had a direct bearing on EinstÃ¼rzende Neubauten's musical philosophy and work, with the musicians always striving to extend the boundaries of music in sound, instrumentation and purpose. The group are one of the few examples of 'rock-based' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. Jennifer Shryane provides a much-needed analysis of the group's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. EinstÃ¼rzende Neubauten have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.

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this book is an important contribution to the research of German popular music

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