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A Study of Einstürzende Neubauten This work has been submitted to ChesterRep – the University of Chester’s online research repository http://chesterrep.openrepository.com Author(s): Jennifer Shryane Title: Evading do-re-mi: Destruction and utopia: A study of Einstürzende Neubauten Date: 2009 Originally published as: University of Liverpool PhD thesis Example citation: Shryane, J. (2009). Evading do-re-mi: Destruction and utopia: A study of Einstürzende Neubauten. (Unpublished doctoral dissertation). University of Liverpool, United Kingdom. Version of item: Submitted version Available at: http://hdl.handle.net/10034/118073 Evading do-re-mi Destruction and Utopia A Study of Einstürzende Neubauten JENNIFER SHRYANE PhD Performing Arts University of Liverpool 2009 Evading do-re-mi Destruction and Utopia We hungered for music almost seething beyond control-or even something beyond music, a violent feeling of soaring unstoppably, powered by immense angular machinery across abrupt and torrential seas of pounding blood (Tony Conrad, Inside the Dream Syndicate, 1965,Table of Element, 2000). London, 04.05 & Grundstück symbol, 11.04 (Photographs taken and overlaid for author by K. Shryane) A Study of Einstürzende Neubauten Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Jennifer Shryane, October, 2009. 2 CONTENT Part One: Context for Destruction The philosophical, historical and cultural background for Einstürzende Neubauten as Nachgeborenen and ‘Destructive Characters’. Prologue Löcher und Loss: writing about performance – three gigs. Chapter One Architecture, Angels and Utopia: the artists-thinkers whose ideas and practice have influenced, stimulated and informed Einstürzende Neubauten’s work. Chapter Two Kattrins Trommel: Germany’s Sonderweg/special way with music and its influence on Einstürzende Neubauten. Chapter Three Der Lärm und die Ruhe: the particular areas of international experimental music inhabited by Einstürzende Neubauten and the problems of categorisation. Chapter Four Das Dämonische Berlin: post war West Berlin: the relationship of its history, architecture and culture to Einstürzende Neubauten. Part Two: Performing Destruction Einstürzende Neubauten’s performative strategies as practical illustrations of their ‘destructive’ philosophy and as Artaudian performance. Prologue They were always quoting Artaud: establishes the centrality of Artaud’s ideas from The Theatre and its Double for Einstürzende Neubauten. Chapter Five Strategien gegen den Körper: Einstürzende Neubauten’s physicality on/off stage and its relationship to Artaud, Viennese Aktionism, Bausch, Nietzsche and Butoh. Chapter Six Strategien gegen die Ecke: Einstürzende Neubauten’s non- conformist approach to instrumentation and sites. Chapter Seven Strategien gegen die Stimme: Einstürzende Neubauten’s use of the voice linked to 20th century vocal experimentation. Chapter Eight Strategien gegen den Schrei: The importance of the Artaudian scream in Einstürzende Neubauten’s work and the scream’s place in the Arts. 3 Chapter Nine Strategien gegen den Text: Neubauten’s work with Heiner Müller and the structuring and content of their lyrics. Part Three: Performing Reconstruction Einstürzende Neubauten’s methods of music-making in order to create a ‘social sculpture’ after the ‘Platz schaffen’ of their destructive strategies. Prologue Composition: the future of music. Chapter Ten A Small Utopia: an examination of Neubauten’s Supporter Initiative and the development of their independence in performance, production, distribution and touring with particular attention to Jacques Attali’s Composition. Conclusion To infect others… Appendices Bibliography ACKNOWLEDGEMENTS This research was made possible by the award of a Gladstone Research Fellowship by the University of Chester, for which I am grateful. I would like to express my thanks to my supervisor, Dr. David Pattie, for his creative and constructive criticism, interest and knowledge. The most useful resource was the interview (live, phone and email): the following people have all generously taken part this way – some of them on many occasions: Andrea Schmid, Blixa Bargeld, Chris Bohn, Andrew Unruh, Erin Zhu, Alex Hacke, Jochen Arbeit, Rudi Moser, Boris Wilsdorf, Chris Cutler, Maria Zinfert, Gudrun Gut, Ash Wednesday, Klaus Maeck, Jessamy Calkin, Jürgen Teipel, Abby Zane, Phil Minton, Karl J. Palouček, Raquel Lains, Peter Sempel, Elizabeth Cooke, Hartmut Fischer, Mathew Jefferies, Jo Mitchell, Hadewig Kras, Nick Rawling, Hans-Peter Schmid, The Bays, Pedro Figueiredo, Corinne Clark, Ian Williamson, Johannes Beck, Andrew Spencer, Karen Leeder, Mark Chung, Susan Broadhurst, Martyn Bullynck, Robert Lort, Deutsche Rundfunk Archiv, Potsdam and the Bill Violo Studios, Long Beach, in particular, Dianna Santillano. 4 Einstürzende Neubauten and Andrea Schmid are especially thanked for allowing me ‘in’ so many times and for being so welcoming, interested and open. Matthew Partridge is Neubauten’s main lyric translator. Blixa Bargeld is thanked for permission to quote Neubauten’s lyrics. I hope that this study infects others… 5 Abstract- EVADING DO-RE-MI This thesis represents the first comprehensive examination in English of the work of the Berlin-based music collective, Einstürzende Neubauten. It intends to offer evidence that the sonic forays of this group have not only defined a particular cultural moment but have also created new musical possibilities (to appropriate words from Brandon LaBelle). 1 It does this by investigating why the work of these musicians is important within contemporary music, what cultural concerns their music reflects and how the music is created, performed and disseminated. These questions are explored through a range of contexts, including post-war Berlin, Germany’s problematic relationship with music, the development of Musique Concrète, Noise/Music and strategies for creative independence. There is a detailed analysis of Neubauten’s performance and textual techniques. This thesis argues that Einstürzende Neubauten are one of the few examples of ‘rock-based’ artists who have been able to sustain a breadth and depth of work over a number of years while remaining experimental and open to development; that their work offers evidence that they are one of the most complete examples of Artaudian practice in contemporary performance and that their Supporter Initiative (2002-2007) provided a unique working strategy for independence of the consumerist model of music. Finally, it argues that their work helps to present the case for the re-evaulation of European, non- English language contemporary music. 1 B. LaBelle, Background Noise, London: Continuum International Publishing Group, 2006, p.224. 6 Part One – CONTEXT FOR DESTRUCTION The work of art is a letter addressed, if at all, to strangers, if need be, from other galaxies. Art itself perhaps humanity’s last domain, the final autonomy, at its best DISTURBANCE…the ice age of no dialogue between minds, hearts spirits has begun, the only escape route leads into dreams, for some into the cemetery (Heiner 2 Müller, Kleist Prize speech, 1990) Joseph Beuys, End of the 20th Century, 1983-85 (image taken from author’s postcard, Tate Modern, London, 2000) 2 Heiner Müller (1995) Theatremachine, (trans./ed.) M.Von Henning, London, Faber and Faber, p.xiv. 7 Prologue - Löcher and Loss It is common to speak of the language of music, but that is neurologically wrong; music doesn’t work in the sense of the words that we speak every day or even in the way that the language of painting would work. Music is illogical, and music, in my particular and peculiar view, I would say that music does not exist unless you have a glimpse of utopia; if it doesn’t have that it’s not music. Music has to at least offer about five degrees of the horizon of utopia…it has to offer the unthinkable, something beyond language. This is what I call music (Bargeld, The Wire, October 1996, p.21). 3 The study argues that since 1980, Einstürzende Neubauten (as a product of the idiosyncratic circumstances of a divided Berlin) have consistently produced a variety of innovative and experimental music. Secondly, it argues that although their methods and philosophies of music-making reflect tumultuous and expanding times in European art, thought and politics, the group’s works defy generic and media boundaries. The evidence offered for both these arguments is found in the musicians’ unusual application and structure of objet trouvé for instrumentation, the use of their mother tongue and non phonemic vocalisation, the theatrical physicalisation of their performances, the apocalyptic and metaphysical concerns of their texts, their belief in foregrounded process and participatory listening and their efforts to facilitate self-production and maintain autonomy over their work. 3 B. Bargeld, beauty and the beholder, Chris Sharp, in The Wire, October, 1996, pp.19-21. 8 Einstürzende Neubauten (which translates as ‘Collapsing Newbuildings’) first played at the Moon Club in West Berlin on April 1st 1980.4 The musicians were Blixa Bargeld, Andrew Unruh, Gudrun Gut and Bette Bartel. The girls left soon after to form Mania D. By 1981/2 the group’s members were Blixa Bargeld, N.U.Unruh/Chudy, Alexander Hacke/Borsig, with F.M. Einheit/Mufti and Mark Chung from Abwärts. When the latter two left during 1995/6, Jochen Arbeit and Rudi Moser joined. Boris Wilsdorf (assisted by Marco Paschke) is the group’s sound engineer.5 The name Einstürzende Neubauten (Neubauten/EN) is
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