english
The Musterhaus Series 1-8 give an outlet to the creative aspects of the band that are more eyperimental, challenging, and less likely to fit into song/album format of their regular releases.

All releases of this series were only available directly from the band, not through normal retail channels but only through subscription.

The series is almost sold out! Only some last copies you can get about the Einstürzende Neubauten online-shop: neubauten.org

deutsch
In der Musterhaus-Reihe 1-8 zeigen sich die Einstürzenden Neubauten von einer betont experimentellen, anspruchsvollen und anarchistischen Seite. Bekannte Songstrukturen, wie sie von ihren regulären Alben bekannt sind, werden vollkommen vernachlässigt.

Alle Veröffentlichungen dieser Reihe waren ausschließlich und nur nach einer Subskription direkt über die Band und nicht über den Einzelhandel erhältlich.

Mittlerweile ist die Musterhaus-Reihe fast ausverkauft. Einige letzte Exemplare sind noch im Online-Shop der Band zu bekommen: neubauten.org

1. 2004 Carriddi Bianco
2. 2004 Moscato Giallo
3. 1997 Cuvée Annamaria Clementi
4. 2003 Rossi Di Bisaccia
5. 1995 Brunello Riserva
6. 1997 Condrieu Les Chaillets
7. incl. the Quicktime movie “Weingeister”

Used to be available for subscribers only!
Volume 8 (and last) in the Musterhaus series, which collects Neubauten releases of an even more experimental nature.

“Weingeister”: It started as just an idea, perhaps out of a simple wish to drink some wine with friends, as a performance, not talking, just ritualised behaviour (Symposium in the original sense?), concentrating on the wine and on the sound. Everything was miked, the table, the glasses, the throats – and we really didn’t know where this was taking us. Yes, the wines were good.

1. Wir lesen Zeitung
2. Kernstück
3. Death
4. Tohuwabohu
5. Semiotische Musik #5
6. Grillen
7. Gestern
8. Hawonnnti!

Used to be available for subscribers only!
Volume 7 in the Musterhaus series, which collects Neubauten releases of an even more experimental nature.

This record consists of vocal experiments, voice recordings and manipulation of voice recordings, enriched with a couple of left-over instrumental tracks made with polystyrene, electronic pulses, Hammond organ, bass guitar and metal percussion. Some of these recordings have been around for a while but have not been previously released (“Gestern”) or have never been properly recorded (“Semiotische Musik #5”).

The center piece (“Kernstück”) is a speed-manipulated rework of the “Vox Populi” section of “Grundstück” including the 100 person “Social Choir”.

“Wenn unser bienenfleissiges Treiben einmal unterbrochen wird / noch vor dem Abgrund unserer Wut / dann sehen wir in den Rissen der Notwendigkeit / nur einen einzigen Augenblick.”

1. Die Wellen
2. Kinderladenklavier
3. Marsch derer die sich wiedernehmen was ihnen sowieso gehoert
4. Burleske fuer 6 Haende
5. Emanuelle
6. Guerilla fuer 2 Pianisten
7. Virginie
8. Filmkuss
9. Die Befindlichkeit des Landes
10. Katowice

Used to be available for subscribers only!
Volume 6 in the Musterhaus series, which collects Neubauten releases of an even more experimental nature.

“Das Klavier ist ein sperriges Moebelstück.“

Einstürzende Neubauten and piano? From pre-Neubauten times. In which N.U. and Blixa regularly raided other-people-pianos (see here among others the arrangement of one of Unruh’s raids in the late 70s titled “Kinderladenklavier” [“Kindergarten Piano]), via the first recording of the song “Sehnsucht” on the album Kollaps, to “Ein leichtes, leises Saeuseln”. Just the presence of one in the studio was usually enough of a challenge to build it into a song (“Armenia”) or to define the later inaudible basis of a song (“Silence is sexy”). In a universe of untuneable instruments, a piano is sometimes a savior, sometimes a provocation. This CD contains exclusively piano compostions, with two vocal pieces, that is, songs with piano accompaniment: Blixa Bargeld’s “Die Wellen” [“The Waves”] and Alexander Hacke’s version of Ton Steine Scherben’s Song “Filmkuss” [“Film Kiss”]. Most compositions are played by Ari Benjamin Meyers (* born in 1972 in New York, musical education in piano, conducting, composition at the Julliard School, Yale University and Peabody Conservatory, from Martin Bresnick, Anthony Davis, Jacob Druckman and Leonard Bernstein, etc.) on a Grand Piano in his apartment in Berlin Kreuzberg.

1. Outgoing Message
   (Berlin 1999 / reconstructed 2006)
2. Incoming Messages
   (Berlin 1986-1989 / edited 2006)
3. Décomposition d'un Placard
   (Pour Obtenir une Augmentation du Comfort de la Couchette)
   (Paris 29-Oct-82)
4. Diverse Lokationen
   (Berlin West 1980-1983 / performance 2006)
5. Michael
   (Floral Park, New York 1983)
6. Verbalien
   (1980-1987 / performance 2006)
7. Atmosphaeren
   (Berlin April 1980)
8. N.U.'s Gaesteliste
   (Berlin 1986-1996) (Unruh)
9. Eisengrau All-Stars A
   (Berlin-Schöneberg in 1980)
10. Eisengrau All-Stars B
    (Berlin-Schöneberg in 1980)

Used to be available for subscribers only!
Volume 5 in the Musterhaus series, which collects Neubauten releases of an even more experimental nature.

The battery operated tape recorder was an indispensable gadget to the early EN. Everybody had one, most of us had one with all the time and everywhere. We recorded: discussions, music improvisations and TV, day to day noises. We yelled and looped, we kissed its microphone and threw it on long suspenders across the wall. On this disc we have compiled some of these recordings, some in their original form: “Décomposition d'un Placard” is the memorable event of N.U. taking a wardrobe apart in his Paris hotel room in order to support his mattress; the “Eisengrau All-Stars” was recorded in one day in my shop in Berlin, with whoever came and went (Wolfgang Müller and Nikolaus Utermöhlen of “Die tödliche Doris”, padeluun, Alex, Andrew and various members of the “Geniale Dilletanten” scene). Others we enjoyed playing with again in 2006: “Diverse Lokationen”consists of recording expeditions (Watertower, street objects / inner city railway guerrilla performance / bathtub and so on…) EN did between 1980 and 1983, mixed with other recordings from the EN archive (i.e. a nightly car ride with Chrislo Haas and the subsequent manipulations of the tape). Back then, we also recorded every interview samples spiced with Alex’s original tape-noise array from his early “Borsigwerke” concerts. Around 1984, cassette based answering machines became available in Germany and were greeted happily by some of us, the detritus of those cassettes can be heard here as well. The recording walkman disappeared, or has been replaced by newer technologies. The guestlist is full.
Blixa Bargeld

1. Keine Schönheit ohne Gefahr
2. Wüste
3. Installation No. 1
4. Negativ Nein

Used to be available for subscribers only!
Volume 4 in the Musterhaus series, which collects Neubauten releases of an even more experimental nature.

Ari Benjamin Meyers and his Redux Orchestra, whose members are at ease with the most diverse musical genres, have so far devoted their performances primarily to the pioneers of Minimal Music including Terry Riley, Steve Reich and Philip Glass, as well as to collaborations with various DJ’s and laptop musicians from the Berlin club scene. The basic idea behind Redux Orchestra is to produce new compositions fusing different musical genres that do not normally coexist and to create live performances that break musical conventions.

For this concert on November 9th in the Berlin club Watergate, Ari Benjamin Meyers and Blixa Bargeld selected various Einstürzende Neubauten songs for witch Meyers then wrote new arrangements.

1. Bassfeder
2. Feder Vice
3. Geschichte der F.
4. Dingfest
5. Schlagkraft
6. Rhythmen fuer Bassfeder
7. Springtime
8. Nux Vomica

Musterhaus 3 is a collection of bass spring compositions by the individual members of Einstürzende Neubauten. The approaches taken are quite diverse. “Bassfeder” consists of one beat on the bass spring, broken down into several hundred segments of the same length. Each segment then placed 200 frames later than the previous. “Feder Vice” is research into what one could produce from the sound of a single beat. In “Geschichte der F.” Blixa conducts an interview with Andrew and then uses the speech pattern as trigger for the bass spring.

“Dingfest” is an exploration of what a choir of 50+ bass springs sound like. In “Schlagkraft”, Rudolf recorded lightning sparklers on the bass spring and the subsequent cooling sounds: the voice of a German news reader makes an accidental appearance. “12 Rhythmen fuer Bassfeder” use selected Midi files, replacing the original Midi sounds with bass spring samples. “Spring-Time” is a melancholic score for bass spring samples, string quartet, French horn and flute. “Nux Vomica” started out with the concept of a dub version in mind; every sound except vocals is in fact bass spring.

1. 1
2. 2

It was not a concert. It was not really music.

When you were upstairs, you couldn’t hear anything at all, but you could see EN clicking away on laptops (and watch Blixa screaming in a microphone). The REAL thing was downstairs. You can see the small room on the photos – maybe 20 people could be there at the same time. Because of ear-protection headsets (or your fingers pressed into ears) it was not about sound. It was about feeling. The massive wave of sound from those speakers (in this small room!) flattened the hairs on the back of my arms and on my head. Sometimes the music came to a DEEP grinding halt. Sometimes Blixa’s voice cut through.

It was not a wall of sound. A wall is something in front of you. You were INSIDE the sound. The very air you were breathing vibrated. The eyes shook in their sockets. I’ve never been attacked like this music.

I don’t know if this sounds funny in a way – it wasn’t. It was incredibly fascinating.
(Thomas K.)

1. Anarchitektur

Anarchitektur is the first cd in the series called Musterhaus by Einstürzende Neubauten.

The Musterhaus Series 1-8 give an outlet to the creative aspects of the band that are more eyperimental, challenging, and less likely to fit into song/album format of their regular releases.

All releases of this series were only available directly from the band, not through normal retail channels but only through subscription.

Anarchitektur ist die erste CD der Musterhaus-Reihe.

In der Musterhaus-Reihe 1-8 zeigen sich die Einstürzenden Neubauten von einer betont experimentellen, anspruchsvollen und anarchistischen Seite. Bekannte Songstrukturen, wie sie von ihren regulären Alben bekannt sind, werden vollkommen vernachlässigt.

Alle Veröffentlichungen dieser Reihe waren ausschließlich und nur nach einer Subskription direkt über die Band und nicht über den Einzelhandel erhältlich.