Einsturzende Neubauten: Alles Wieder Offen

By: Josh Potter

I don't speak a lick of German but somehow track names like "Nagorny Karabach" and "Unvollstandigkeit" describe the music inside perfectly. Industrial music (if the term is still relevant to these progenitors) has always been built on this unsettling conflict. With a harsh, proletariat method, the sound was meant to bludgeon jaded materialists into a sort of hyper-real stupor. Decades later in a post-revolutionary middle age, the tactic might be the exact opposite. There's still the sense that apocalypse is nigh and villain roam among us but the pill is increasingly easy to swallow. There's doom but little rage.

In the same way the German language sounds to naïve American ears, the band's music has a guttural directness that suggests enough meaning as to render lyrical content moot. It's a new sort of distortion, and it even lilts a little. With precise production and more than a touch of pop-sense, Alles Wieder Offen (Potomak) stands on a platform of instigation but is about as controversial as Bjork's latest offering (and that's without drawing comparisons to U2 or Leonard Cohen). "Let's Do It A Dada" seems spun for an indie-dance party in a gentrified warehouse basement, which is a good thing. This time you can leave your rubber galoshes at home.

JamBase | Deutschland
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[Published on: 4/27/08]

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