The Masthead
Hot on the heels of Einstürzende Neubauten’s new suppor ters-only CD, Grundstück, comes Die Grosse Untergangsshow: Festival Genialer Dilletanten. The latter is a handsome CD, DVD and LP compilation on Vinyl-On-Demand that documents Neubauten’s par ticipation in a revue of West Berlin’s sick underbelly alongside Die Tödliche Doris, Gudrun Gut, Sprung Aus Den Wolken, future Neubauten member Alexander Hacke, Nekropolis (featuring Mark Reeder, who later founded Berlin Techno label MFS) and others. Translating as The Great Downfall Show, the festival that took place on 4 September 1981 at Berlin Tempodrom laid the foundations for the kind of practices that characterise the best of today’s global Weirdness: communal noisemaking on any implement to hand, musical or other wise, following self-defined aesthetic principles that sarcastically embrace all things diseased, if that’s what it takes to upturn the age’s suf focating notions of beauty.
These practices are enshrined in the festival’s ‘ingenious dilletantes’ (sic) tag. Though its origin is disputed, it was most likely coined by Die Tödliche Doris’s Wolfgang Müller, who later edited a fabulously slipper y manifesto, Geniale Dilletanten, published by Mer ve Verlag. Knowingly or other wise, the Geniale
Dilletanten variously fused dada and Fluxus tomfooler y with scabrous punk/No Wave licentiousness to produce the bracing blasts commemorated in this box.
Bargeld was the prime mover behind the festival itself, programming it and even attending to details like per formance times and fees. Such entrepreneurial gusto may be at odds with his abject image in 1981 (Blixa is pictured here with Hacke), yet from the beginning there was always a utopian element about Neubauten’s attempts to collapse the world around them and rebuild it according to their own designs.
That utopian principle is easier to discern in the DVD available with this year’s Grundstück. Filmed at the former East German capital’s Palast Der Republik, it documents one of three suppor ters-only concer ts held by the group to finish the album. Here, there’s no stage, just Neubauten playing amid their suppor ters, most of whom have been conscripted into a 100-strong choir and metal percussion orchestra par ticipating in the making of the music. What began as a tight band of outsiders has since expanded through their Internet operation into a global community of outsiders. Finally Einstürzende Neubauten have succeeded in their long cherished aim of collapsing all boundaries between per formers and spectators. CHRIS BOHN
W I R E
Adventures In Modern Music Issue 263 January 2006 £3.80 ISSN 0952-0680 (USPS 006231)
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