I have all of Einstürzende Neubautens' releases in one form or another (except for their post 2000 releases, sadly). This one I have on LP and I invite anyone who cares to look at the LP next time you are in a record shop because it's cover is far more beautiful than the CD version. The LP has silhouetted images of the band in modern-dance poses, their fingers, legs and hair like a beautiful choreography by Isadora Duncan. I'm not sure why they changed the look for the CD, life is funny that way. Of all their wonderful albums, this and Haus der Luge are my absolute favorites. They come from a similar pinnacle of their long and varied career where they coaxed each piece of metal, every giant spring, bucket of sand, etc. into a musical tapestry of pulsating rhythm. Blixa Bargeld's voice has come a long way from Negativ Nein's frightening scream, and on this album he manages to sing in a whisper, a chant and of course, his trademark screech that sounds less like a voice than it does a drill boring it's way through a bell.

This album is more hypnotic and, at times, even cozy. Like sitting in the worlds most comfortable chair watching the fireplace blaze so fierce and brilliant that it burns down the entire room, but you are too comfortable and mesmerized to move.

Anyone reading this probably has been drawn to Einstürzende Neubauten for one reason or another. They are still one of the most important industrial acts out there, as well as one of the genres godfathers. Blixa's work with Nick Cave has been mutually rewarding. Fans of either should cross reference. Whatever the reason you came this far is, start with this album (or Haus Der Luge) and then move on to their three volumes of Strategies Against Architecture. This is a fantastic album.

14 years ago I saw Einstürzende Neubaten live in action, in my hometown of Zagreb, Croatia. That concert still remains among the ones that stand out. I remember how surprised I was to see and hear how melodiously they sounded, especially given that their instruments consisted mainly of pneumatic drills, hammers, springs, chainsaws and the like. Only "conventional" instrument played was an electric guitar Blixa Bargeld played with his right hand only. It had 2-3 strings broken and it didn't matter. Since then they have reached beautiful artistic balance between the "conventional" and "unconventional" means of musical expression. Like all the best, timeless works of art, their music now defies categorization. "Fünf auf der nach oben offenen Richterscala", released in 1987, is a record of moving, pulsating, emotional music, distorted and melodic at the same time. It evokes the spirit of Nick Cave's "From Her to Eternity" (to which Blixa Bargeld contributed as a permanent member of Cave's band, The Bad Seeds) or the impact of "seductive evilness" of Diamanda Galás' "You Must Be Certain Of The Devil". Not being proficient in German, I am probably missing a lot (one song only - "Morning Dew", sort of a Berlin Blues - is sang on English), but these Berliners have made such a rounded and mature record that I don't feel the pleasure of it has been denied to me in any way. Not many German bands find their way abroad, but the ones that do (think of the Can, Kraftwerk, Tangerine Dream...) seem to be making a big and lasting impact. "Einstürzende Neubaten" are no exception in that.

This cd is so incredible. Dark, moving, melodic, anti-melodically minimal, pure genius. It starts with some beautiful songs, then meets its pounding, driving climax in Ich Bins & ends powerfully with very forboding, haunting minimalism. With the slow tempos & melodies, probably not what anyone expected from them when it was first released. Brutally unveering from the Neubauten musical vision. Very highly recommended.

I played the first track ( its title translates to "Destroyed Cell" ) at a Halloween party ( this is no lie ) and was told "this scares the hell out of me " . Track two, Morning Dew, is a cover, in English. Much more conventional, at least for EN, but I still like it. Ich Bins was jungle before jungle was "jungle", in that you can only get behind the groove when you see it as the half step it is. Track 4, honestly, makes me think of Kenny Loggins. I don't know why, I only know that's NOT a good thing. But #5 more than makes up for it. Slowly evolving, with a cool guitar part, squeaky percussive effects, and ultra low bass; it is the "return to form" music fans talk about all the time. What remains is about the same. Gruff Germanic vocals, chanting, subtle strings ( they at least sound not synthesized ), found percussion, primitive guitar. Track 7 reminds me a little of early eighties Cure/ Killing Joke. Not "quiet" , just slow - but no less engaging.