Aural Fixations

EINSTÜRZENDE NEUBAUTEN
Perpetuum Mobile
(Mute)
Berlin's Einstürzende Neubauten began over 20 years ago as one of the first industrial rock bands. By "industrial," I don't mean the throbbing, crunching disco metal of Ministry or Nine Inch Nails that became popular in the late 80s and 90s. For Neubauten and its international cohorts "industrial" meant the use of found objects and materials as musical instruments, whether it's a glass bottle, a chainsaw or the venue itself. (The band became legendary for its careful destruction of the stage during performance.) More conventional instrumentation floated around in there somewhere as well, but the group made its rep on its use of, well, stuff. A Neubauten concert—or a record, for that matter—was an intimidating spectacle, the ultimate realization of art being found in everyday objects.

Or so I've read—I have to admit, I've never actually heard any Neubauten until now. Apparently the band has gone through some changes over the years. As with albums past, Perpetuum Mobile uses found objects, mainly as percussion—I'm not sure if there's a conventional drum kit anywhere on the record. But unlike the barely-controlled chaos of the past, this record revels in melodicism and restraint. Vocalist Blixa Bargeld (until recently also a member of Nick Cave's Bad Seeds) croons, mutters and drones, but never shrieks or roars, and the band favors atmospheric keyboards, percolating rhythms and insistent electronics over slab-bashing and calculated destruction. Longtime fans may be disappointed (though apparently Neubauten has been going in this direction for a few albums now) by Perpetuum Mobile, but I find it mesmerizing. The tunes float gently on sturdy backbones of ringing metal percussion figures, and Bargeld's guttural vocals sound almost soothing in this context. Cuts like "Youme & Meyou," "Ich gehe jetzt" and "Dead Friends (Around the Corner)" possess an easy appeal without sounding as though the band compromised its vision to get there, and the nearly 14 minute title track mixes the group's newfound melodicism with its avant garde instincts without blunting either edge. As an amateur in the world of Einstürzende Neubauten, I can't say how Perpetuum Mobile stacks up to the band's past work. As a music fan, though, I can't give this record anything but the highest accolades. Michael Toland [buy it]