Alles Wieder Offen

Alles Wieder Offen

by Einstürzende NeubautenEinstürzende Neubauten


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If Einsturzende Neubauten's 2007 effort Alles Wieder Offen ("All Open Again") seems to be more of a follow-up to 2000s Silence Is Sexy than 2004's Perpetuum Mobile, it could be because it delivers on EN's 2002 dream of a listener-supported official album. Mobile appeared on the band's usual home label Mute so a tour could be financed. Even if it was hardly a throwaway album, the group's hunger for progress seemed undercut by the use of air horn blasts, metal crashes, and other devices that referenced the sound that made early Neubauten so infamous. Alles, on the other hand, was paid for by "supporters" who received interim recordings and an expanded final product different from the general release with bonus tracks and a DVD. As such, it's free to explore the more difficult and subtle side of the band's music. There are moments on Alles where tension escalates into something approaching chaos, and other moments where the rhythms are mechanical, but most of the album sounds like sophisticated modern composition-meets-downtrodden pop song, as if leader and head writer Blixa Bargeld was working on a Threepenny Opera for the 21st century. Displaying Blixa's love of irony and wordplay, the title "All Open Again" refers to something less positive than it might sound. Being "open" to a different way of thinking comes at a cost in his songs, as if it's a burden. Key track and single "Weilweilweil [Becausecausecause]" questions the "endless set of appeasements" society offers in lieu of answers and represents them with zombie-like chanting of the song's title. "Don't take the advice of those/who've long since frittered their winter fat/of opportunities" it continues, but if principles aren't sacrificed in this unforgiving world one gets stuck in the land of "Nagorny Karabach," where Blixa lives "up on my mountain/in my black garden/the enclave of my choice." His lyrics are matched by the equally vivid music. Making great use of basslines, strumming guitars, and sometimes even breathing, Neubauten create something rhythmic instead of just percussive and drive home the solitude theme with stretches of silence. The big eruption of noise comes during the lone sociable song "Let's Do It a Dada," and then it's a slow slide down to the insular closer "Ich Warte [I'm Waiting]." "Ich Warte" waits for proof that "life is not an error, not error and music" and receives none, but when Blixa declares, "I'm waiting for the new language/That will be of use to me" he only needs to look as far as the wonderfully unique album he and his fellow musicians have created.

Product Details

Release Date: 03/11/2008
Label: Imports
UPC: 4995879930632
catalogNumber: 748700
Rank: 82074

Album Credits

Performance Credits

Einstürzende Neubauten   Primary Artist
Blixa Bargeld   Clavichord,Electric Guitar,Hammond Organ,Electric Piano,Vocals,Choir, Chorus,Sampling,Vibes,Track Performer,fender rhodes,electronics,Piano (Upright)
Alexander Hacke   Banjo,Bass,Mandolin,Drums,Electric Guitar,Background Vocals,Choir, Chorus,Vihuela,electronics,Metal Percussion
Jochen Arbeit   Pedal Steel Guitar,Drums,Electric Guitar,Hammond Organ,Background Vocals,Xylophone,Choir, Chorus,Melodica,E-bow,Metal Bar
N.U. Unruh   Drums,Electric Piano,Background Vocals,fender rhodes,Recitation,Metal Percussion,Metal Bar,Metal Bowls
Rudolf Moser   Drums,Bass Drums,Background Vocals,Choir, Chorus,Vibes,Metal Percussion,Glasses
Stefano Macor   Viola
Claudia Gubisch   Violin
Ash Wednesday   Sampling
Ari Benjamin Meyers   Piano
Anton Teslia   Violin
Jan Schade   Cello

Technical Credits

Einstürzende Neubauten   Producer
Blixa Bargeld   Composer,Sound Effects,Original Idea
Alexander Hacke   Electronic Processing
N.U. Unruh   Sound Effects
Boris Wilsdorf   Producer,Engineer
Erin Zhu   Executive Producer
Rocco Weise   Engineer
Rudolf Moser   Electronic Treatments
Mote Sinabel   Artwork
Matthew Partridge   translation
Jan Schade   String Arrangements

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