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We hungered for music almost seething beyond control-or even something beyond Chapter Nine Strategien gegen den Text: Neubauten's work with Heiner soon after to form Mania D By 1981/2 the group's members were Blixa 80 The lyrics are in German in the original; translator unknown, NBOA copy sourced 10

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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 (Unpublished doctoral dissertation).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
2

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.

3

CONTENT

Part One: Context for Destruction

The philosophical, historical and cultural background for Einstürzende Neubauten as Nachgeborenen and 'Destructive Characters'. 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. experimental music inhabited by Einstürzende Neubauten and the problems of categorisation. 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. 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.

4Chapter 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. Palouþek, 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.

5Einstürzende 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...

6

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. 7

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

Müller, Kleist Prize speech, 1990)

2

Joseph Beuys, End of the 20

th 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.

8 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.

9Einstürzende Neubauten (which translates as 'Collapsing Newbuildings') first

played at the Moon Club in West Berlin on April 1 st 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 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 used to cover any combination of these members (the specific date of the reference will imply membership) and individuals are referred to (when relevant) as above. Their introduction to the Anglo speaking market, via England, was through the intervention of Jim Thirlwell who facilitated their signing to Some Bizarre and Mute in the early eighties. My subject is a contemporary German group, but I have written in English and some of my evidence has been gathered from unattended past performances; initially, these details could appear as anomalies and hence, I will deal with these first. 6 4 Gwyn Symonds, in You can take the fan out of the Academic but should you? (University of Sidney, 2004 sourced from www.arts.usyd.edu.au/ 6 December 2008) states that as a member of both fan and academic lists online (for her subject) she sees no reason to separate her response as a fan from her response as an academic: 'Finding the words that speak to both groups, passionate and recondite (and which still allow me to get my thesis accepted) now there is the real challenge!' This thesis is not a biography or a fanzine account of the work, although much love is involved; therefore, no chronological 'history' of the group's activities or personal details is included here, other than the time-line in Appendix 1. The approach, which has involved considerable attendance at rehearsals, performances and interviews, has used objective participation. 5 Australian musician, Ash Wednesday usually accompanies the group for major tours. 6 There are also areas on which this study frequently touches but which cannot be further explored because of lack of space. Two such areas are: the similar development of contemporary youth music, particularly Noise, in Japan post 1945 and the effect of the tumultuous years of protest and action in the Federal Republic during the sixties and 10 Neubauten 2007 - Image from author's Alles Wieder Offen cover, with permission to use

The Anomalies

1. Language

In the dark times, will there also be singing?

Yes, there will also be singing.

About the dark times

(Brecht, Motto, 1936-8. 1987, p.320). 7 It would have been all too easy for me to have used only English translations especially as the group and their 'family' are fluent English speakers but I believe that such an approach would neglect the important contribution which Neubauten have made to the post-1945 rehabilitation of the German seventies on its youth culture and, in particular, on the development of an independent

German popular music.

7 Brecht, B. Poems 1913-1956, J. Willett, R. Manheim & E. Fried (trans/eds) London,

Methuen Publishing Ltd.1987.

11language in the Arts in the light of Adorno's statement concerning the

impossibility of poetry after Auschwitz. They are one of the few West German music groups (from the 1980s) to consistently perform in, and celebrate, their mother tongue. The national German character and language were so distorted and manipulated by the Third Reich (especially via the radio) that the resulting stereotype of the coldly precise, intimidating and humourless German survives and is still parodied more than 60 years after Hitler's downfall. Hence, the German language (despite being the medium of metaphysics, the Lieder and the work of Goethe, Kleist, Einstein, Marx, Freud, Heine, Brecht and the Manns) has struggled with a Malediction, expressed by

Neubauten in Blume (1993)

8 as -' my name, should you know it/remains unspeakable/and is spoken-malediction' - a song which Bargeld performs in

French, Japanese and English.

Although there has been considerable progress away from the post-war idea of German as a rigid, pedantic, harsh language of hatred, towards a re- appreciation of the German of literature and of the performance arts, the perception of their language and its delivery remains a sensitive issue for some Germans. This was in evidence in BBC Radio 3's The Struggle for Language (21 January 2007). The programme described the effects of the Nazi taint as creating a language which was always shouted not spoken, associated with hysteria rather than thought, and with 'words like doses of arsenic.' Post 1945 the language was felt to be so damning that émigrés abroad were ashamed to be heard using it in public. Hence, West Germans 8

Tabula Rasa, Mute Records/Potomak.

12soothed themselves with consumerism and Americanism, settling for global

English as a suitable alternative, while the East Germans invented a new guilt-free language of the collective. In response to both escape routes, the GDR writer, Heiner Müller, collaborator with, and influence on Neubauten, worked in a language so obscure that it could carry no baggage. 9 I argue that Blixa Bargeld, as Neubauten's lyrist, has with his Müller- influenced style, helped to re-associate the language with poetry and song through a usage which also bears the influences of Brecht's sharp clarity and concreteness, George Trakl's apocalyptic descriptions and Celan's fractured syntax; he has also focused on the language's inherent theatricality and corporality in delivery. Hence, it is important to emphasize Neubauten's use of German as unusual and political, for in choosing to use German, Neubauten were, and still are (see Alles Wieder Offen, 2007- 08) making a statement of identity which keeps them outside the Anglo-American marketplace; this aspect is further explored as a key vocal strategy in Chaper 7.

2. Listening

Love is man unfinished

(Paul Eluard, translated by Beckett, 2002, p.123) 10 9 Müller was not the only post-war German writer to retreat into dense metaphor and absurdity in order to sever his language's association with Nazism; he is cited here because of his close association with Neubauten. Music critic, Chris Bohn has suggested that Bargeld has taken a similar route into complexity to avoid the racism and imperialism of post-1989 West German language (the primer in The Wire, April, 2000, p.44). Bohn (a.k.a Biba Kopf) has championed the work of Neubauten since the early eighties. He has not only helped to sustain an interest in the group in the UK but has also encouraged their intellectual status through referencing (for example) Benjamin, Cioran, Artaud and Cage in their work. He is frequently cited in this research and has offered much constructive advice and information.quotesdbs_dbs27.pdfusesText_33