Einstürzende Neubauten
(…)Einstürzende Neubauten have not remained stuck to their past - nor do they try to get caught up with any dance groups, like various other stars from the '80's have discovered how to do. Berlin's "Herren" have remained perfectly unchanged - but not out-of-date. Their concert in Archa presented this fact with much greater penetration than their album Ende Neu.
Everything was here, everything that a good concert of incomprehensible "sound makers" should have: original instruments from metal springs to a clapping set of books, gloomy choruses, infernal rhythms illuminated a current evolution, but industrially striking,... For a moment, Neubauten turned something on, something that created a feeling that in the middle of your head, a round object was whistling, perhaps moving but still making a terrible sound. I don't know how it was possible to produce such an effect, but it was unreal.
And, of course, primarily the songs were here. Neubauten performed their old songs (their performance strengthened by guest members - we could also see unknown performers, with the exception of the demon tempting Blixa and the blue-collar Muffime) (...), as well as their new ones: the cover song from Ende Neu; the ever-so-long Nnnaaammm; the non-penetrating, slightly melodic-very romantic The Garden; the hit Die Interimsliebenden from their last album... and they never lost the attention of the audience. It seemed as though they were losing their audience for a moment during Ende Neu, but they quickly managed to bring them back. It was a ravishing performance of sound improvement, such a realistic concert, where the group gave everything of themselves. In the sold-out Archa, the Prague audience received them very enthusiastically. But perhaps this isn't the last time when we'll be able to see the company.
Rock & Pop (November 1997), Jana Kománková