Experimental 1

Buy and download 'Come On Let's Go (Broadcast Cover)' here: https://thelazyeyes.bandcamp.com/track/come-on-lets-go-broadcast-cover

Credits
Recorded live at Lindfield Studios
Photo by Charlie Hardy

Come On Let's Go (Broadcast Cover)

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)

PALAIS SCHAUMBURG - Wir bauen eine neue Stadt [ REMIX ]

From the Pickled Egg 10" mini-LP ' Scaring the Grass in the Garden"

Rickety Venue

03-melt-banana-slide down

Bob Callaway - Native

Live 1977-1978

96 Tears Intro / Ghostrider / Rocket USA / Cheree / Jonny / Frankie Teardrop (CBGB Sept 29 1977)

INSTRUMENTAL JAZZ SOUL SURF TITTYSHAKER GROOVE LATIN R&B FUNK (SUMMER ON-THE-BEACH)

Watusi Zombie-JAN DAVIS

[p*dis] distribution sampler for February 2012.

Pyrolator - Inland - It Always Rains In Wuppertal - It Always Rains In Wuppertal (Bureau B)

The box (Fad gadget cover)

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.

Electronic Block Rocking Beats Pulsating Rythmic

Cabaret Voltaire - Silent Command (NLR RE-EDIT)

snakefinger cover
snakey beef?
long live 90s industrial

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

Blurt - Get + Missy Elliott - Get Ur Freak On
Okarola Mix 2012

Get (Ur Freak On)

Grouper - Cloud in Places

Machine Shop by the Spy's and Here Come the Bums by Snakefinger lovingly played by Trevor Malcolm on tuba and the rest of the Bunny Game on fingers and vocals

Opium Wars Beta (And Bonus Windsor Garage Band Tracks)

Machine Shop/Here Come The Bums by Bunny Game

cover version of the instrumental track "Film One" from "Metamatic"

John Foxx  Film One  [Odyssey Remix]

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