Experimental 1

I DO NOT OWN THE RIGHTS TO THIS SONG!! New York avant-garde folk

Arthur Russell - Answers Me

The Archives

Big Business/I Zimbra

Houses In Motion

Der Plan Berlin, 05.11.1980
Quality: good (8/10)
Linage: Tape from trade-wavelab-flac


1 Intro
2 Am Tag als der Reagan kam
3 Wenn der Sonne ist verblueht
4 Ich bin ein Komputer
5 Hans und Gabi
6 Renate
7 Sie hat mich verlassen
8 Leb doch
9 Zurueck in die Atmosphaere
10 Da vorne steht ne Ampel
11 Meine Freunde
12 Die Welt ist schlecht (fade out)

No official material included!

 

Der Plan - Da vorne steht ne Ampel (Live in Berlin 1980)

ANDREAS DORAU - Hamburg, Germany, Hafenklang   31.01.89  ( EXCELLENT Audience, Uncirculated !!! )  FLAC

TAPE>CDwave>WAVE>FlacFrontend Level 8>FLAC>TORRENT

346  MB

Quality : 9+ ( Audience )

01.Intro ( instr. )

02.Tradition

03.Sei Steif

04.Na, Du alte Kuh

05.Ein Fall für Dr. D

06.Immer noch warten

07.Frauenfüße

08.Blume 86

09.Stehst Du an der Himmelspforte

10.Nordsee

11.Kleines Stubenmädchen

12.Demokratie

13.Ein Tropfen geht an Land

14.Wo bist Du

15.Die Welt ist schlecht

16.Demokratie # 2


This one was taped by myself.

It was my 2nd Dorau gig.

The first was in 1981 in my hometown Kiel, where he did his first tour with

the Marinas  ( remember them ????? )

It was the year his hit - single " Fred Vom Jupiter " came out.

In the 90´s I saw him twice  ( Solo tour in my hometown and atatak tour with " Der Plan

& Pyrolator.)

But at these gigs, most of the music came from tapes.


Anyway, this torrent now proves his genius of still living after the " neue deutsche welle "

Andreas Dorau is ( or was ???) a very good friend of Palais Schaumburg, Holger Hiller, Der Plan,

.......


Artwork is included.


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When the band Einstürzende Neubauten was being founded in 1980 there were hardly any others that could have been compared to them.

Instead of playing conventional instruments, the band – out of shortage of money – used tools and other objects of daily use to create atonal industrial collages predicting a near downfall (“Kollaps”). 

They started with a destructive and nihilistic basic attitude that corresponded to the zeitgeist of post-punk in the early 80’s; however, the realization could not be any more radical than this: percussionist F.M. Einheit maltreating the stage with a power drill, mastermind and singer Blixa Bargeld playing the guitar with an electric shaver. If there existed any parallels, then to “musique concrete” at best.

But very soon, nearly unnoticed by their steadily growing community of fans, the picture refined: at an early stage, Blixa Bargeld rejected already comparisons to the British oil barrel beating epigones of Test Department or SPK and during an interview I had with him in 1985, he wondered why the parallels to a group like Ton Steine Scherben could be neglected carelessly.

Indeed, the Neubauten managed to escape pure industrial clichés very fast by their individuality, sophistication and above all, their lyrical substance. Even without blaring metal, on albums like Die Zeichnungen des Patienten O.T. and 5 auf der nach oben offenen Richterskala the Neubauten were able to produce gloomy, filgrane and spheric soundscapes (“Armenia”, “Kein Bestandteil sein”).

Blixa Bargeld’s fascination for the ancient German language became unmistakeably clear in their 1989 album Haus der Lüge which is the nucleus of this Rockpalast concert – to be experienced amongst others in the tune “Ein Stuhl in der Hölle”, lyrics that Bargeld had found in a book with old kitchen songs.

The band Einstürzende Neubauten consciously applies language in a different way than other bands at that time. The German language was being expanded by going back to its origins. In 1989 Blixa Bargeld put it like this: “I love the German language but sometimes it is too narrow for me. Sometimes it is necessary to bend words in a new way, and sometimes it is necessary to go back to words that are not so much burdened with other meaning. You cannot work with a word like ‘love’; that is the best example. It is a doormat, full of thousands of associations and those even vary from one person to the next.”

Thus, little by little they created their own cosmos that finds its perfect expression in metaphorical songs like “Haus der Lüge” or “Feurio”. Nevertheless, these pieces are only one part of a process neither do they carry a message nor are they arbitrary. Blixa Bargeld: “To me, creativity means to lose control. When I am losing control something comes out. For example, I have not written ‘Das letzte Biest am Himmel’. It evolved I do not decode my lyrics, not for me, not for the audience. When I decode them and disenchant, I will rob the lyrics of any charm.”

The Rockpalast concert at the Philipshalle in Düsseldorf combines in a unique and compact way all the songs that were relevant and had shaped the band’s style (according to the criteria formulated by Bargeld) to this date. The interaction of the line-up which at that time featured Blixa Bargeld, Alexander Hacke, N.U. Unruh, F.M. Einheit and Mark Chung has hardly been captured as perfect and so to the point as in this film document.

Ecki Stieg, September 2012

Zeichnungen Des Patienten O.T.

snakefinger cover
snakey beef?
long live 90s industrial

Bring Back Reality (feat. Lil Beefy Boy, Dr. Hitting)

Spotify
https://open.spotify.com/artist/2nTAcIFWtNTygzrn08Lyx5?si=jD42casEQOKJ3N3hr1a48w


You Tube
https://music.youtube.com/channel/UCiAW47N3mM6zlHh1COB20Lw?si=Qe1AQqMsuX3Puvmh


AppleMusic
https://music.apple.com/hr/artist/elektronska/1796914197?l=hr


Deezer
https://dzr.page.link/wLiPijLf1gJYEg5P7


Tidal
https://tidal.com/artist/54551820?u

Der Plan - Da vorne steht ne Ampel (Live in Berlin 1980)

Andree Heiny

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