Kollaps

Oh fuck yeah, now we're talking. Wait no, I swear I'm not being pretentious. This is the lowest rated album on this site because I guess mostly people aren't very fond of German people smashing metal plates together - who would have guessed. But halle-fucking-lujah, this is something this list needs more of. Albums that make you go "well, that was an experience and now I'm a changed man". Nobody is lying on their deathbed wishing they heard more crappy 80s post-punk or late 60s psychedelic rock. THIS is what we all deserve to be listening to as we embrace eternal oblivion. I'm giving this a high rating not only because I genuinely really love it, but also to help Kid Rock move to his rightful place as the actual worst album on this list. Together we can make a difference. Save the turtles.

My god what will this do to my Spotify recommendations???

Around 1990-91, I was a volunteer at 2SER student radio. Mostly, I did technical work helping my mate, Tim. Panelling, editing, that kind of thing. In 1991, Einsturzende Neubauten were touring Australia and there was an offer to do a radio interview with 2SER. I could actually pronounce “Einsturzende Neubauten” and knew a little bit about the band, so it was decided that I would do the interview. Which was not really my thing, but it came with perks; tickets to their show at the Phoenician Club and a copy of the Strategies Against Architecture LP, so I said OK. I knew the legendary Blixa Bargeld has a reputation for not suffering fools, so I tried to prep questions that were interesting. So, on the day of the show the plan was to go down to the club after soundcheck and interview Blixa. It was a bit intimidating. I mean, EN were one of the world’s most dangerous bands, and Blixa also played in the Bad Seeds, which made him an underground legend. Tim and I were in the equipment room gathering up a portapack and mics and whatever else we needed, when someone comes running in the room whispering “There’s a vampire in the lobby, and he’s looking for you!” And sure enough, there in the lobby, stands Blixa, in full stage outfit, pale as death, six foot six in cuban heels and his hair teased up, and 100lbs wringing wet. He has a bottle of schnapps and a filthy look in his eye. He’s staring death at everyone. And then I hear my name called. Standing next to this imperious vision in black is a smiling Japanese man in bright green overalls with a flower appliqued on the front. His voice is oddly familiar; it is Rick Tanaka, former presenter of the Nippy Rock Shop, a collage-like radio show from Triple J in the 80s. I was a fan. Turns out, he is the road manager for this EN tour, and he is asking for me. He hands me his business card: Rick Tanaka, Private Guy. We hurriedly shuffle Rick and Blixa into a meeting room and turn on the recorder, and I attempt an interview. It did not go well. Blixa did not want to be there, was much smarter than me, and was not very patient with my attempts at questions that were more engaging than the usual stereotypical “who gets to go to the junk yard for your stage show?”. Eventually, he just started ignoring me and chatted to Rick. Tim and I kept the tape rolling for their conversation, and afterwards edited it up into something resembling proper radio. And then they left. Tim and I packed up, and then walked down the road to the Phoenician Club. (En route, we bumped into the Beasts of Bourbon, who were playing support. They were intensely focused. They clearly knew what was coming and determined to put on a good show. They were the best I ever saw them play that night; tight, ferocious and angry, showcasing material from their Low Road album, that was not yet released). And then on came Einsturzende Neubauten. It was possibly the most intense, frightening show I ever seen. I confess I was a little freaked out by my encounter with Blixa, and not really prepared for the experience of an EN show. By the end, I was pressed up against a wall with my fists clenched and my eyes shut. The sound from the stage was so brutal and overwhelming. I can’t recall much of what went on, except for a bit with shopping carts with contact mikes crashing into each other repeatedly. It was really loud. I know I left the venue about 11.30pm. At 2am, I turned up at my girlfriend’s house, tapping on her window. I assume I spent the intervening hours walking the streets in a daze, but not really sure of what I did in that time. She yelled at my for waking her up for a good 15 minutes, but I was unable to put a sentence together, let alone explain what had just happened to me. It was a heavy, really heavy, performance. Ok, so given that background of my relationship with EN, what do I think about this album? I have listened to it once or twice before. EN is really influential on me. I love noisy things, really noisy things. I played in industrial bands through most of the 1990s. And this is like the ur-text for much of what industrial music became. It still sounds frightening and surprising now. That said, this is a massively difficult listening experience. I am reminded of Brian Eno talking about Steve Reich (I think), and how hearing one of his early tape pieces was massively influential, but he never listened to it again. Early EN (and this album in particular) is like that for me. It opened up a world of possibilities to explore, but I don’t need (or probably even want) to listen to it much. I certainly was much more enamoured of their early 1990s material, which contains actual songs, rather than just this scary barrage of crashing rhythms and screaming. Kollaps is an important record for me, but I would not recommend it.

This is a joke, right? No way this is real. These guys took mics to Haus Depöt and started recording everything on the plumbing aisle. This shit sounds like a “10 HOUR INDUSTRIAL BLACKSMITH FACTORY AMBIENCE” youtube video. Honestly though, I can dig abstraction and distorted electronica, but you always need something for the audience to latch on to. At times this is cool, but if this plays at the discotheque, I’m leaving because you can’t even try to dance to this shit

Not bad background music except for it feeling like I was being shouted at by Hitler the entire time

If you have a headache and would like to worsen your headache, this is the perfect album for you. Let's just say...interesting does not equal listenable.

It’s like when you visit an art gallery and there’s a video instillation. The video is shot on Super 8, and features broken mirrors, religious imagery, and a good deal of nudity. This album would be the soundtrack. You stand at the back of the darkened gallery just long enough to prove you aren’t scared/confused/shocked by it, then politely edge your way out to go and find something by Banksy, whose book you have on the coffee table at home. Giving it 2 stars. If you gave it 1 star, it would mean you didn’t ‘get it’ … and I definitely ‘get it’. 100% ‘get it’. It’s just I prefer stuff by Radiohead, or Banksy.

A band and album that is so hard to properly describe. I got into Neubauten through listening to the Bad Seeds and I was lucky enough to see the play in 1991. It was like visiting hell, am I mean that as a compliment to the unabashed fury on display that night. Cut pieces of shopping trolley raining over the audience and sparks from angle grinders adding a sense of danger that they may just set the venue alight. This album doesn't even come ose to capturing that but it still gets five stars as it is still on a whole other level to most of the albums on this list

What the hell is this? Power tools and someone screaming in German? This is absolute garbage. If I could give negative stars, I would. I thought Limp Bizkit was the worst this list had to offer, but boy was I wrong. I owe Mr. Durst a heartfelt apology. This is literally the worst thing I have ever heard. Imagine you're outside on a busy street standing next to someone jackhammering the sidewalk, so you're wearing headphones that are just playing static to try and cover up the construction sounds, but you can't quite get the volume high enough. Then out of nowhere an angry German dentist tackles you and starts giving you a root canal while yelling in your face. Then someone in the building next door sees what's going on and starts throwing random drums and chains out the window onto the street. Now imagine that but worse. That's the kind of thing we're dealing with here. So I say to you, Mr. Einstürzende Neubauten, BOOO! BOOOOO!!!

An album full of literal bangers. Hahaha, I made myself laugh. This is fascinating. And yes, obviously better than Kid Rock. I mean, obviously. Are you mad? Of course it is. And Ryan Adams, both of them. Anyway I like krautrock and I like industrial. And I like experimental stuff, and people smashing shit together while screaming in German. So yeah, high score. Tempted to rate it higher than I rate Sgt Peppers for the lols.

Really solid creatively and certainly the most deserving of the label industrial, but not the EN album I would’ve picked for a “must listen.”

This should be everyone's selection on April 1st, because it being included on the list has to be a joke. Worse than awful.

I've got no hope of being neutral about Einstürzende. They're one of my husband's favorites. I hear them whether I like it or not. So I might as well find reasons to like them. This album's noisy and rather unpleasant, but it's not chaotic, not just loud noodling and screaming. I couldn't tell you what their intention is, but I can tell they've got one. It's hard to tell from this album but there are songs on later albums where Blixa's voice is actually soothing. On Kollaps, we only hear the stuff of nightmares. Still, this is different! I would much rather listen to something that disturbs me with noise than to something that disturbs me with boredom. So, thumbs up!

I appreciate the use of tools and building materials, it sounds like a demented construction site. For an album that they were trying to make unlistenable, it has quite a bit going for it. The rhythms are entrancing at times, and they leave a lot of space in many of the tracks, which invites then listener in before they are eventually jolted out of the trance with a primal scream. Would listen again.

epic noise

There sure is a lot of hate for this record, so much that it's the lowest rated song on the entire list. I think that's a bit overstated as this isn't a "bad" record per se, it's definitely challenging though and it will necessitate that you adjust your expectations of what "music" is. IMO there are a lot of more unlistenable albums on this list, eg Black Death Metal. I found the second side with the instrumental songs without any vocals to be the most interesting. Particularly the 7 songs that end in "dub", with the best being Gastarbeiterdub with some very interesting percussive beats. I probably wouldn't seek this out to listen to it but I found it to be quite interesting.

The real thing! 1ste wave of industrial music. Neubauten, Test Department, Sans, Coil, Foetus. All sound can be music. And German brilliant language for this noise. 5 stars of course. Later made e.g. Tabula Rasa, beautiful album.

Not my thing. Awful

Heck yeah Sonic Voyagers strap in for the ride. I admire the intestinal fortitude it takes to say fuck what other people think, I'm going to be artistically creative in a way that makes me happy. Collapsing new buildings indeed.

10/10. Forget about what other people are saying about this album. THIS is truly a must-listen album. There are far too many unremarkable albums in this 1001 album project. This is not one of them. This is incredible, and revolutionary.

When I first heard this band almost 30 years ago, I thought I was the only one who had ideas that music could be expressed as much more than it currently had been. This band, and other artists who make challenging art, opened up my mind to the understanding that there were others out there who also believed that music did not have to follow a strict protocol. While I had not heard this particular album before it was fascinating to hear the album and band that inspired Al Jourgensen of Ministry, Trent Reznor of Nine Inch Nails, and bands like Rammstein to marry industrial to more accessible forms. This list needs more albums and artists that inspired whole new sonic and thematic sub-genres and less of the endless singer/songwriter albums that litter list. No one needs 6 Nick Cave albums, when you could put 2 or 3 more albums that actually break new ground by a variety of artists. I think people that rate this album low are being narrow minded and judgmental.

I can’t think of a more appropriate album for Christmas Day. 5/5, no notes.

Look, this album is not something you listen to while you dust your living room, all right? It is an early work of industrial and drone sound to create nightmarish landscapes. There are certainly better guitarists than Blixa Bargeld on a technical level but few people in music use their instrument to create proper soundscapes like that. In that respect, he is closer to Robert Fripp and his Frippertronics than Eric Claption or Jimmy Page. Compare that with Unruh's and Einheit's percussion work you have something extraordinary.

Honest to god, hearing the angle grinder tear through sheet metal kind of won me over.

This noisy assault had me glued to the listen for at least half the album, then became a bit tiring. This is at times incredibly raw and dark, but also humorous in its audacity. Definitely unique and for a record created to be the “most unlistenable album ever”, Ein came pretty close. Actually, there was enough rhythm and beat to keep me listening. I’ve had much harder times listening to more conventional albums I just didn’t like. I suppose ‘unlistenable’ is very subjective.

Music is context specific right. And my current context is really jarring with this. This ISN'T work background music. But, there's something that's made me curious. I like the textures. The drums on Steh auf Berlin sound similar to a Woodkid track (you know the one trending on TT right now). There must be some techno remixes of these songs playing at Berghain right? U-Haft-Muzak has a really interesting intro, and not surprised to read one of the band members joined Nick Cave and The Bad Seeds. Can hear how Nine Inch Nails have been influenced by them. Apparently the band threw fire at their audiences and damaged venues. Hmmm, that sounds like really shitty behaviour IMHO.

It's strangely comforting to know that this sounded exactly as insane as I thought it would upon reading the description

Among the “1 Star Album Club,” some space must be reserved for bold, exciting ideas which have been ruined by their execution. I actually enjoy a lot of the experimentalism on this album, and I want reward any and all artists willing to go out on a limb. You can hear some nightmarish— but somewhat enticing— sounds on the second half of this record. Almost a more homespun, industrial version of the Raymond Scott/Manhattan Research tapes. Little ideas made from experiments, and some are pretty neat. That’s the instrumental second half of the album. Unfortunately for Eunsturzrnde Neubauten, most of us start our albums at the beginning, and the beginning of this album is absolutely unlistenable, and it is entirely up to the screaming, frightening vocals. Comparisons have been made to the sound of Hitler screaming one of his speeches while giving you a root canal. I think that’s not at all unfair. I can’t hear anything redeeming in those first three tracks, and that’s a lot of time to lose someone. If Neubauten was really going for this, and they actually want me to turn my mind to the dark, repressed memories of my last dentist appointment, then “Steh Auf Berlin” is a stunning achievement. And so it is with all of the good ideas on this album: ruined by horrific vocals. I’m so repulsed by them that anything else redeeming on this album is forgotten. I was going to write an unserious review, but halfway through my second go-round I realized that this band is actually deadly serious, and so they deserve to be more than just slagged off. 1 star for me.

The root of Industrial music. While I won't be coming back to this album, it is key to understanding where bands like Nine Inch Nails and Ministry came from. Never did I think I'd enjoy listening to German men scream at me while somewhat rhythmically beating on trashcans. It's not the WORST album on the list, in spite of everyone's hatred of the album. It's definitely not the best either. I don't think there's a traditional instrument played on the entire album. My Rating: 5/5. Only so I can help put Kid Rock where he needs to be. Actually it's a 3. Save the turtles!

truly different sound, unique project, must have

This is totally in my wheelhouse. I love this so much, bring it on. How can this be rated worse that Kid Rock? Save the turtles indeed people.

I’ve never heard of Einstrüzende Neubauten before, but their reputation on this list certainly precedes them (you know some poor sap got this as their first album and then bailed on this project, cursing the day they were born). I studied German for three years in high school and two years in college, and I’m honestly shocked that I managed to go this long without hearing about them. Even after reading a few reviews, I still don’t think I really know what I’m in for, but I signed up for this project to be challenged and experience new things, so I’m ready to dive into this. I can easily understand how this album isn’t for everyone, but I thought listening to Kollaps was a fantastic experience. I was really hooked from the start by “Tanz Debil” and its pounding rhythms (I’m not even going to try to ballpark what instruments were used on this album). I would have though that pulsing would have gotten repetitive throughout the song, but paired with what I assume was a bass guitar, it made a really unique pairing, and it built an incredible sense of anxiety and dread that permeated any language barriers. “Steh auf Berlin” was great too; I loved the pulsing percussion and the other jarring noises that were used in the song. There were a couple of songs that really tricked me on this album; “Negativ Nein” and “Sehnsucht” both started off in a way that made me think they were going to be more melodic, almost like Bauhaus, but they both went off the rails eventually, and I thought that was some really brilliant song structure. The whole album was really great, and I was surprised that I enjoyed something that was so rhythmically driven and didn’t rely much on melodies. This is the type of thing that pushes boundaries in a way that I really enjoyed and appreciated. I didn’t care much for the other notoriously poorly received album on this list, Trout Mask Replica, but this album had a cohesiveness to it that really made it a fun experience to listen to. I can’t believe I’m saying this, but I would honestly listen to this again. If you’re reading this review, my advice is to just turn off your brain and let the chaos of Kollaps wash over you. You may not enjoy it, but I think it’ll help you appreciate the experience more.

What a debut. Harrowing, uncompromising, and fully formed. How do you start a band like this? (Guitarist seeking sheet-metal banger. Influences: power tools, Nietzsche, early Fleetwood Mac.) I owned a compilation of theirs, but this was my first time hearing this album. Now I understand where early Sonic Youth came from. I really loved the textures and the atmosphere. Would be nice to know what he was singing. OK, maybe not "nice," but interesting. Dinging it one star because the second side wasn't quite as tight. I need to listen to more of their music. The Serge Gainsbourg cover cracked me up.

it was about time this generator spit out something i can put on during a dinner party. it’s fun to imagine what they’re playing. crescent wrench hitting airplane engine turbine. disc grinder on volkswagen chassis. clawfoot bathtub full of black water. music for steampunk orcs. the post-ww2/cold war years did wild things for german music. actually puts me in a contemplative mood. or anxious at times. so far outside normal popular musical structures that it renders you completely passive. you don’t know what comes next and you can’t sing along, so there’s no point but to sit and wait and think. it’s also undated. this kind of thing can’t really sound “old.” i won’t pretend i was sitting there begging for more, but it’s definitely remarkable for its effect on the listener and its commitment to deconstruction. it prompted genuine thought from me about what makes music good and even what makes music, period. and im curious to come back to it again. for all that, 4.

Industrial music edges forward, sometimes quite literal in its meaning. Fascinating despite its noise and attempt to be unlistenable.

Though this isn't something I'd put into my daily rotation, it resonates with me on a personal level far more than a great deal of other albums on this list. I know where the impulse to make something like this comes from, and you can hear how it gave permission to others that followed to go further down the trail they blazed here.

If Doodle Bob had a band, this would be the album. Perfect for any haunted house, artsy horror film or torturing your neighbor. Have a Godzilla like monster? Mikrobendub. Deranged dentist turned torturer? Steh auf Berlin. Scene with a NY street performer? Rohrbombe. Doodle Bob does the Bubble Bowl? Vorm Krieg. For house security, play Gasterbeiterdub on repeat while you’re away from home. Passerby will think you’re jamming out and building your new IKEA furniture. The weak hearted should skip the first seven songs and head to the more palatable second act starting with Kollaps. Sado-Masodub is an absolute banger that ends just as it’s getting good. A marvel for its time that is now blended into whacky sound effects on keyboards and Ableton push sound packs.

Gotta be honest it takes a lot of balls to record something like this and release it. The whole time listening to it all I could think about was them in the studio recording it and it made it a little easier to listen to. The back half of Helga was my favorite part. This album would make a great horror movie soundtrack. Terrible music though I recognize they perfectly executed what they were going for

Unlistenable…but that’s probably the point.

Knowing German did not make this any better, honestly might've been more tolerable if I didn't know it.

Una bestialidad tan difícil de escuchar como necesaria. Experimental concreta industrial electrónica lo que sea que fuera Anarco art rock único e influyente, que se lo digan a Swans , Depeche Mode , Nick Cave o Nine Inch Nails.... Yo los descubrí con Silence is sexy pero esto es otra cosa Vanguardia Destrucción Autogestion De todo el lote me quedo con Steh auf Berlín

Finally something fucking weird. Incase you didn't know that I'm basically a child, all I can think about is South Park's impression of a German person engagin in shit sex. Shizer? Ya. sehr gut leicht 5.

The best industrial band after Throbbing Gristle. Kollaps is unremittingly harsh, with vocals shouted and screamed above a din of banging and scraping metal percussion. E.N. uses found sounds and often use homemade instruments made of scrap metal & God knows what else in their sonic attack. Many would consider their sound to be little more than noise & I get that. This isn't 'Pet Sounds' a record that anyone with working ears should/would love. The 23 songs on Kollaps are all different but to many they will all sound the same & I get that too. I would not casually recommend this album to anyone unless I knew them well & knew their music tastes even better. I really like it and it works for me on all levels but that means nothing with this kind of music/noise. There is a good chance you will despise this album, and I'm surprised that I don't and a small chance that you will like it maybe even love it but don't count on it. Stream it first before spending money on a costly import.

HELL YES. Metal plates, drills & other power tools, giant water bubbles, tape recorders played on fast-forward, plastic barrels, huge springs used as bass strings, guitar noises that you can barely tell are guitar, and Blixa Bargeld's demonic screams. This is not top-40 radio-friendly pop music, this is industrial in its purest form: raw, brutal, and jarring. The lyrics speak for themselves: "Hear with pain, hear with pain, hear my wounds, hear with pain." The first 6 tracks all appear on Strategies Against Architecture '80-'83 (albeit in a slightly different order) but there were a few I hadn't heard before (including the "remixes" taken from Stahldubversions, since current playlists are using the 2002 re-release that includes those). As the first proper album from EN, though, this definitely deserves its spot on the "must hear" list. If you're one of those "ugh, can't listen, 1 star!" people- congratulations, you didn't get it. And if you're one of the subset of those reviewers who could literally only come up with the name of 1 famous German to compare Bargeld's voice to? Shame on you. Get out of your tiny English-only cave, expand your horizons, & go listen to some Falco or Kraftwerk, or maybe that Rhabarberbarbara rap that's been trending lately.

Revolurionary

Dannati geni.

If music is meant to comfort, Kollaps shatters that notion with a sledgehammer wrapped in steel wool and rebar. Einstürzende Neubauten’s debut is not just an album — it’s an act of sonic revolution, a declaration that sound doesn’t need melody to be musical, or harmony to be holy. Released in 1981, Kollaps is an apocalyptic birth cry from the ruins of post-war Berlin, fusing scrap metal, broken glass, power tools, and anguished vocals into a symphony of collapse. From the first strike of percussion that sounds more like a demolition site than a drum kit, you're not listening — you're immersed. Blixa Bargeld doesn’t sing so much as prophesy, his voice echoing like a mad preacher inside an abandoned factory. Tracks like “Tanz Debil” and the title track “Kollaps” reject structure, reject polish, reject anything resembling musical civility — and in doing so, find something deeply human beneath the wreckage. Each piece feels like a confrontation: with society, with conformity, with sound itself. This is not industrial music in the Nine Inch Nails sense — it’s industry itself turned into music. Yet for all its abrasion, there’s a strange beauty in Kollaps. It’s the beauty of entropy, of cities falling and being reborn, of the aesthetic potential of destruction. Neubauten takes the broken pieces of civilization and holds them up like artifacts, sacred and terrible. Essential listening for anyone interested in the outermost limits of what music can be. This is the soundtrack to a world unraveling — and maybe rebuilding, too. Then again, I'm giving this album 5 stars just to be contrary.

It is more important than it is enjoyable. And yet, Kollaps is still better than 33% of the albums on this list. Respect the racket.

When this came up I braced myself since it’s frequently in the pariah bottom 5 records of the list - but it was surprisingly a strong record. Certainly not for everybody but dark and moody and angry and at times I felt even witty. I couldn’t stop laughing at the sound of jackhammers blasting through my headphones while running past a construction site - and still enjoying it. I think it gets too much flak - it was so much better than most dad rock here.

Experimental industrial punk... I love it. I have their second album which is very similar but not as raw. It has the beginning of song structure. This is still great. Trying anything and everything to see works.

I've been looking forward to this! I don't understand why this album iis so unpopular, great industrial noise. Enjoyed it a lot

You know, I didn’t really expect to spend 56 minutes of my day today listening to a German screaming over power tools. But that is what I ended up doing. And I loved it. Did I understand anything they were angrily and passionately yelling in German while beating pots with wooden spoons? Nein. But that’s precisely what makes this album great. The complete and utter disorder and chaos that is such a completely new and otherworldly musical experience to me. I mean that’s why I started this whole project in the first place. And Einstürzende Neubauten absolutely delivered.

not the worst album on the list by far, very creative and interesting

Wow, didn’t expect this, completely unknown to me, german, scary but fun and beaming with influence, sonic-ly…on all of all my favorite bands. Lairs, Xui Xui, Pharkmon, Idles, Dan Friel, the list goes on. They are capturing an attitude and texture that I see strive for in my own music. It’s the challenged rethinking of “what is music”, collection of sounds? If so why can’t my collection be personal and different from your collection. The beginning of the album hits strong but my only issue is the blown out speaker thrill ride is cut short with a number similar audio stretches that seem to lack depth and are almost meaningless… but is that the point, I don’t know. Was prepared for a 5 but it slumped down to a 4 by the end. Kollaps is a banger Listen to The Screamers, they pre-date this band and were on the same Nihilistic journey but used distorted synths instead of guitar. https://open.spotify.com/album/4ekEa3ozC8xQU8qmudlZqn?si=2bLAtQKTTVKr3gLR2Jaz2A

genuinely one of the best horrible albums ive ever listened to. certain tracks are absolutely unlistenable. sounds like the haunting dreams of a german cocaine addict conked out on a piss soaked floor in a berlin club after being awake for 129 hours straight. ive recommended this album to multiple close personal friends.

Raw, industrial, experimental, and noisy. EN and this album made such a mark when they came on the scene. How I wish I could have seen one one of their shows back in the 1980s. Very cool that they are represented on this list.

Wow. This was a challenging listen and I think that’s by design. This is abrasive, confrontational, and ugly. I really enjoyed it.

Everybody's favorite genre: evil noise. I've made mental note of this album based on seeing it on the global Worst Rated Albums list on this site, and I always look forward to finding out why. What we get here is an industrial noise album from the early '80s, and wouldn't you know it, I really dig it. I know I've mentioned Pharmarkon's Bestial Burden in another review, and I mentioned it to Alex as we talked about this album, but it's a reference point for me as this sort of vile, bitter noise that represents really harsh, negative emotion. You'd think it would be unpleasant for me, and in a literal sense it definitely is, but it's also an expression that I really respect and feel like I understand, to the point that I geniunely have grown to love albums like this. Most would say it's not even music, and I don't know if I can make a case to the contrary, but damn I love this stuff. Albums like this ABSOLUTELY belong on a list of things you must hear before you die, even if it literally kills you. I'm keeping a good handful of bangers. I think the album got a little tame and same-y on the back end, but overall a great ride. Favorite tracks: Tanz Debil, Steh Auf Berlin, U-Haft-Muzak, Draussen Ist Feindlich, Schmerzen Horen, Kollaps, Vorm Krieg, Spionagedub. Album art: What the hell am I looking at? A little cyclops freak? Is that even supposed to be a person, or just a symbol? Not much to it, but it's kind of memorable for that same reason. 4/5

I have a soft spot for weird music and this certainly fits the bill

The word angst is Germanic in its origin, so it's of no surprise that this music did too. It's horrible, but in the best way. They find emotion in power tools and destruction. It's difficult. But brilliantly so. It could only be done once, but it's amazing it was done at all. While normally I sneer at the people giving low ratings, this is an album you have to be in exactly the right mood for. Amazing Serge Gainsbourg cover too!

This album was certainly interesting in a "German guy is yelling at me while hitting pots and pans" kind of way. With titles like "Schmerzen Hören," at least you knew this wasn't gonna be Easy Listening. The title track was quite long, but I got through it smiling as I imagined it as a karaoke choice. I would enjoy that. I was intrigued and engaged, and I appreciated the experience as an exploration of sound, and that's how I rated it. The question of whether I "liked" it or not seems irrelevant.

This is you: “I really enjoyed all 36 of the British alt-rock albums released between 1995 and 2005 that are on the list. Even though they all sound the same, I rated them all 4’s and 5’s.” This is me: “Shut up, nerd. We bang wrenches and hammers on scrap metal to make music now.”

This is one of those albums where you either get it or you don’t. Kollaps isn’t just music—it’s a full-on assault on sound itself, built from clanging metal, literal power tools, and raw, guttural vocals that feel like they’re trying to dismantle traditional songwriting entirely. It’s harsh, abrasive, and absolutely chaotic, but once you start thinking about what they were doing and the context they were working in, it makes a lot more sense. Coming from post-war Berlin, Einstürzende Neubauten were reacting to their surroundings—both physically and culturally—using industrial wreckage as instruments to reflect a world that felt just as unstable. Translated, the lyrics are full of bleak, existential dread, but even without understanding a word, the sheer sound of it tells you everything you need to know. That being said, it’s not exactly an album you’ll be spinning on a daily basis. The noise and destruction are the point, but it does require patience and an open mind to fully appreciate. Tracks like Tanz Debil and Steh auf Berlin feel like precursors to noise rock, industrial, and even modern experimental hip-hop—this is the OG drill music, quite literally. It’s not the worst album on this list by any stretch, but it does demand effort from the listener. If you’re willing to engage with it, there’s something undeniably fascinating about Kollaps, even if it’s more of an experience than an everyday listen.

Highlights: Jet’m, Tanz Debil. In a nutshell: taking the genre literally. I think the mission of the band (at least in 1981 context) is deconstructing percussion. To be weird. It's chaotic and impressive. This is an easier listen compared to Throbbing Gristle. Without looking it up, I bet this was creative fuel for Rammstein, Nick Cave and Trent Reznor (spoiler, frontman Blixa Bargeld is a founding member of Nick Cave and The Bad Seeds). Did I like it? Eh. Do I think it’s worth keeping on the list? YES. Overall: 5/10

I really want to rate it higher, but I don't love it enough for a 4. I can totally see why this is so low rated, this is so far removed from Paranoid Android, 1989 and Master of Puppets that it will alienate al.ost everyone But what's the purpose of this list if not to showcase the bravery of these Germans? No I'm not listening to this outside of this project, but I'm glad that I have listened to it and it will remain one of the most memorable albums on the list. Way more interesting than anything that Rod Stewart is involved in

I didn’t hate this! Not sure if I would return to it anytime soon - but I’ve listened to far worse albums on this list - I’m looking at you *insert shitty BritPop band of your choice*

I'm practicing self-love and bailed after three songs. Just because you can make "songs" from the sounds of a car mechanic's shop doesn't mean it's a good idea.

That was not pleasant, but at least it was interesting. The unique rhythmic and harmonic use of industrial noise was very cool. Never want to hear it again.

Som experimental, não muito agradável

So imagine you're listening to your neighbors building a shed in their backyard. It's one of those pre-fab metal ones that's made of steel. They're hammering away for hours, yelling and using power tools, and sometimes they stop for a beer break or whatever and you can hear the music they're playing for just a brief second before they get back to their noisy bullshit. Even if you put headphones on to listen to something else, you can't hear anything but these fuckers in their yard working on this dumbass shed. At the end of the day, they're not even really doing anything interesting anymore. They're not even talking anymore. They're just finishing the rivets and still hammering away. And you just have to sit there and listen.

This music is the equivalent of the scene in every horror movie where the killer is right behind them and you’re saying NO NO NO NO. This is the music waiting for you at the bottom of the sewer. This music is the symbol on the album cover made manifest, at the end of a dimly lit tunnel 100 yards away running towards you at full sprint. It’s the sort of stuff that’s in the basement of the doctor who made the Human Centipede. This shit had to have been created in the aftermath of Chernobyl down in the bowels of the facility. I can feel the radiation on some of these songs and it’s going to linger longer than I’d like. This kind of album has a half-life. And that doesn’t even begin to describe the horror I felt when I saw their album cover of Haus der Luge (spoiler, it’s a wide eyed horse shooting goo into a puddle) another album no doubt cursed by some ancient German demon. Pretty wild I had to hear this the same day I watched Zone of Interest. Maybe this was their punishment for the sins of the third reich. Forced to live in an abandoned concentration camp and record in the bowels of some crematorium. I do believe this album should be on this list, it’s an Art Most Fowl. Abandon all hope, ye who press play, you’re entering the lair in Poughkeepsie Tapes.

I don't even know what the hell im listening to or how to even rate this thing, it sounds like someone going crazy and if a homeless man was trying to perform music with random things he found at a junkyard for spare change but was on drugs, I cannot even understand what was even trying to be portrayed it's so horrible and my ear needs help. Abomination

If I was being charitable I could say that these creepy soundscapes and industrial rhythms helped lay the groundwork for Burial, Nine Inch Nails and others to build upon, or that the extreme experimentation and complete disregard for pleasant sounds is way more punk than anything else on this list. I could also say that this album would make an ideal soundtrack to a horror film, or horror video game, or horrifying mental breakdown. But I can't in all conscience call it good music. 1.5

There is nothing more punk than this record. Normal punk band revolt against rock music but Einstürzende Neubaten revolt against music and our perception of harmonies. Hell yes!

Because I’m a weirdo

love these fellas

Underrated brilliant and well ahead of it's time

I didn't have to wade through the full 56 minutes of this album because I read the Wikipedia page and realised that this album is bogged down by 20 minutes of bonus tracks added to later reissues 😏🧐 I definitely need to check the book on this entry. I respect the decision of the editors to keep this album in every edition of the book, even if I do think they pussied out by removing the equally esoteric "They Were Wrong, So We Drowned". Let's see. The songs are built around a theme of destruction and the album was intended to be as "unlistenable" as possible. They failed pretty disastrously on that second front, as I do dig this. The songs that are above two minutes in length are generally quite good. The problem I have with them is that I have absolutely no idea how to articulate what works about them. These sounds are well beyond my comprehension. The completely exploded percussion on "Tanz Debil" works really well and effectively introduces the "dark" atmosphere of the album. I enjoy the ominous ambience on "U-Haft-Muzak" along with what sounds to be the rattling of prison bars. "Kollaps" is surprisingly quite good for an eight focking minute track. The "percussive sound" in the background pleases my ADHD brain and manages to hold my attention for the entire runtime. "Abstieg and Zerfall" is also a good cut - probably my favourite on the album. Those electronic tones in the background are genuinely really good. It truly reminds me of the apocalypse. There are some misses, admittedly. Steh auf Berlin does not do much to win over the people who are skeptical of this album and is admittedly a little to much for me. The aforementioned <2 minute tracks during the latter half of the album also fail to leave an impression, even if they are pleasing. Fuck it, 4/5. I liked this album quite a bit and do feel compelled to give it a relisten. I have to check out Kollaps sometime in the future.

This music could only come from West Germany in the early 80s. This was a blast, it really shows the connection between early noise rock and what would become the sound that Ministry and NIN would popularize. 4/5

I honestly oddly hated and liked it. No clue what to say

No niin, kerrankin jotain kiinnostavaa tällä listalla! Poikkeava kokemus, ja hieman epämiellyttävä kuunnella, mutta ei tämä mitään satunnaista sekoilua ole. Arvostan! 4/5

Challenging. I do understand why people hate them. Excellent beats, though.

i entirely thought the appeal of early industrial was that it was evil music that also sounded like it was coming directly from a Casiotone that Satan had been using as a personal fleshlight for the past ten hours. as a result, i enjoyed it in the same way i enjoy smooth jazz -- a product of its limitations, trying to scare you, but ending up more spooky than actually scary. i'm sorry, but i think it took a bit of technological progress to make the synthetic sufficiently frightening. as a result, "Kollaps" feels out of place. this thing fucking scares me. people who ding it because it's hard to listen to and abrasive: have you considered that maybe that's the point?

it was funny

This is audio performance art. It doesn’t have to make sense and you don’t have to immediately understand what it’s all about, for it to get to you. From what I’ve read, if you saw them live you also got the visual performance art to go with it - which I’m sad, but also relieved(?) to be missing out on. Ultimately this was interesting, and engaging enough that I listened all the way through - which can’t be said of some of the very mid, bland, inoffensive pop albums on this list. So I’m giving it more stars than it seems most people have done.

## In-Depth Review of *Kollaps* by Einstürzende Neubauten *Kollaps*, released in 1981, marks the debut album of the German industrial band Einstürzende Neubauten. This groundbreaking record is not only a sonic exploration but also a reflection of the socio-political landscape of West Berlin during the early 1980s. The album's unique blend of noise, punk, and experimental sounds, combined with its provocative lyrics, offers a rich tapestry for analysis. ### **Lyrics** The lyrical content of *Kollaps* is deeply rooted in themes of chaos, destruction, and existential dread. Blixa Bargeld's vocals are often delivered in a haunting manner, reflecting the disillusionment prevalent among the youth of West Berlin at the time. The lyrics evoke imagery of urban decay and a sense of hopelessness, mirroring the city's post-war environment. Key tracks such as "Draußen ist feindlich" (Outside is Hostile) encapsulate this sentiment with lines that express vulnerability and isolation. The juxtaposition of intimate feelings against a backdrop of hostility creates a stark emotional landscape. The lyrics often oscillate between abstract expressions and visceral imagery, challenging listeners to confront uncomfortable truths about society and existence. ### **Music** Musically, *Kollaps* is an audacious blend of industrial sounds, punk energy, and avant-garde experimentation. The band employs found objects as instruments—metal plates, scrap metal, and power tools—transforming everyday detritus into percussive elements. This innovative approach not only redefines traditional musical boundaries but also aligns with the band's ethos of using their environment as an instrument. Tracks like "Kollaps" (Collapse) showcase lengthy instrumental segments filled with clattering rhythms and dissonant sounds that create an immersive experience. The album's production is raw and unrefined, reflecting the chaotic energy of its creation. The use of unconventional instruments contributes to a sound that is both abrasive and captivating. ### **Production** The production of *Kollaps* is emblematic of its time—rough around the edges yet profoundly impactful. Recorded in West Berlin's bombed-out landscapes, the album captures the essence of its surroundings. The decision to use non-traditional recording spaces adds an authentic layer to the music, making it feel alive with the spirit of rebellion. Einstürzende Neubauten produced the album themselves under their label ZickZack, allowing them complete creative control. This autonomy enabled them to craft a sound that was not just experimental but also deeply personal. The production choices reflect a conscious effort to eschew commercial polish in favor of raw authenticity. ### **Themes** *Kollaps* explores several overarching themes: - **Urban Decay**: The album reflects the physical and emotional deterioration seen in post-war Berlin. This theme resonates through both lyrics and music, creating a sense of bleakness. - **Isolation**: Many tracks convey feelings of loneliness and alienation, mirroring the experiences of individuals in a divided city. - **Existentialism**: The lyrics often delve into existential questions about life, death, and purpose amidst chaos. - **Rebellion**: There is an underlying current of defiance against societal norms and expectations, characteristic of punk culture. These themes resonate deeply within the context of early 1980s West Berlin—a city characterized by political tension and cultural upheaval. ### **Influence** *Kollaps* has had a profound influence on various genres, particularly industrial music and avant-garde rock. Its experimental approach paved the way for future artists to explore non-traditional sounds and structures. Bands such as Nine Inch Nails and Ministry have cited Einstürzende Neubauten as significant influences on their work. The album's impact extends beyond music; it has become emblematic of a broader artistic movement that sought to challenge conventional forms. Its legacy is evident in contemporary experimental music scenes that continue to push boundaries. ### **Pros and Cons** **Pros:** - **Innovative Sound**: The use of found objects as instruments creates a unique auditory experience that challenges traditional music norms. - **Cultural Reflection**: The album serves as a powerful commentary on the socio-political climate of West Berlin in the 1980s. - **Emotional Depth**: The lyrics are thought-provoking and resonate on multiple levels, inviting listeners to engage deeply with the content. **Cons:** - **Accessibility**: The abrasive sound may alienate casual listeners who prefer more conventional musical styles. - **Production Quality**: The raw production may be off-putting for those accustomed to polished recordings. - **Niche Appeal**: While influential, *Kollaps* may appeal primarily to fans of experimental or industrial music rather than mainstream audiences. ### **Conclusion** *Kollaps* by Einstürzende Neubauten remains a landmark album in the landscape of experimental music. Its innovative use of sound, profound thematic content, and raw production encapsulate a moment in history marked by turmoil and creativity. While it may not appeal to everyone due to its unconventional nature, its influence on subsequent generations of musicians is undeniable. As we reflect on its legacy 40 years later, *Kollaps* stands as both a product of its time and a timeless exploration of human experience amidst chaos.

This is the joint last place album on the project at time of writing, illustrating the fact that a lot of people doing this equate something being easy to listen to, to being good, and something challenging to listen to, to being bad. 🙄 Plus, judging by a lot of the comments, they stopped listening only a few tracks in. Anyway, yeah, this is engaging. Dark AF. I prefer it to the Throbbing Gristle album that's in joint last place with it, anyway! Fave tracks - "Steh auf Berlin" for the liberal use of powertools to scare off the norms 😆, "Negativ Nein" is great (including the live version which is presumably a bonus track) and "Sehnsucht" is a fun little interlude!

Experimental, punk, a bit off, odd and brave.

schlag schneller, schrei lauter schlag schneller, leb schneller bis zum Kollaps, nicht viel Zeit This had me tapping my foot the whole way through, I loved it and didn't mind the abrasive elements at all. I do speak German, which perhaps removes one mental barrier a lot of people have where they dismiss anything in a language they don't understand, but I also just found it a really compelling clusterfuck of noise. I knew the name Einstürzende Neubauten from the meme list of experimental musicians: "Merzbow, Boredoms, Gerogerigegege, Coil, Throbbing Gristle, Whitehouse, Nurse with Wound, Einstürzende Neubauten..." but this was my first time actually listening to them. I will definitely come back to this and explore more of their discography.

Scream, soft ears!

Surprisingly accessible, I was expecting something weirder and unlistenable but these are really just pop songs when you get past the banging and the angry German screaming.

This feels like industrial era Tom Waits, except it’s dialed up to 11 and made 10 years earlier. There’s no way he didn’t take inspiration from this band when making albums like “Bone Machine” and especially the grisly, metallic “Real Gone.” That being said, “Kollaps” is as raw as punk can get, with random metal objects being large parts of the instruments used to back the hellishly distorted vocals. In a way, it’s as punk as punk can get, with the title track exemplifying that stronger than any other here. As a whole, this thing is vicious, it’s as stripped back as punk music can be, and it’s forward-thinking as hell.

Did I just enjoy listening to a german construction site ? Yes. Maybe. Probably. Well, I'm still not sure how to feel, but at least it made me feel something, it's really bold, conveys a purpose, and is not another piece of boring bland generic pop/rock music as is so often the case in this selection of albums. I discovered something, and I'm glad I did.

So, this is my first time hearing this album and… I have a lot of thoughts. First though, I have a question for my fellow reviewers out there. How many times in your life have you uttered some version of the sentence, "I listen to all kinds of music," or "My tastes are diverse," or "I like everything"? So today we have Einstürzende Neubauten, here to call all of us to the carpet and really make us examine what we consider to be music. What do we even consider to be music? How far can that line be pushed? Are we all full of shit? At almost 900 albums into this little project, I kind of love that. It's why we're here, right? When we hear a piece of "music" for the first time, it's instinctual to look for what feels familiar, to orient us into whatever it is we're about to experience. We unconsciously look for structure when we listen to music just to comprehend what we're experiencing. EN is consistent in their refusal to provide that structure for us, so as a listener you're kind of on your own to figure it out. On an essential level, this album is pretty disorienting and unsettling from the get-go because of this. I mean, the boundaries you expect from music are completely gone here, and you just have to strap in and let it take you wherever it's going. There is nary a hook nor a bridge nor a melody to be found, so be prepared. This is the purest, most stripped-down representation of industrial music that exists out there. It's gritty and noisy and minimalist in ways that are incredibly daring. As you work through this 1001 albums project, you will find pieces of this music in the DNA of dozens of albums from artists that came after it - industrial, post-punk, goth, alternative, metal, electronica. It's not a particularly easy listen, but it's not a hard listen either. It's not the kind of album I would just want to hear on the regular, but this is pretty compelling, primal stuff. The "Dub" songs probably are the most listenable of the bunch, but across the board, the album is never boring. I was planning for a 3 with this album, but this is a 4. Truly mind bending, fascinating stuff. I'll also add, EN is still out there making music today, 40+ years later. Sleep well. Fave Songs: Rivieradub, Kollaps, Sado-Masodub, Spionagedub, Lünebest, Jet'm, Sehnsucht, Rohrbombe, Liebesdub

Everyone who voted this 2 or lower is a coward. This album rules, absolutely unlistenable stuff double thumbs up 👍 👍

Hello, welcome to the reviews page for the lowest-rated album on this website! Take a seat, dive into the horror of Industrial music. Pure industrial music (none of this industrial metal or industrial techno stuff) is content exploring dark, noisy soundscapes that sound, well, industrial. More metal than metal, more raw than punk. There's a specific fascination with the mechanical, rhythmic chaos of the factories. It aims to capture the bleak nature of the artist's realities, the world around them. Kollaps is a true, German reflection of the industrial genre. It is a monstrous experience and one that is delightfully disturbing. Wails from vocalist Blixa Bargeld, as if crying out for release. Unrelenting noise from things that simply cannot be instruments. Kollaps is, for lack of a better term, wrong, but it's execution is oh so right. What a messed up and uncomfortable album this is. Einstürzende Neubauten must have known the power of something like this, and how goddamn unpleasant it was. It's beautiful.

I've known about this band for a while thanks to Henry Rollins' tattoo, but had never really given them a listen. I really enjoyed the industrial chaos sound.

Wow, impressive industrial and Experimental. It toes the line without falling into a trap of being unlistenable.

Weird

I will not include the appended CD bonus tracks or 2002 re-release bonus tracks for this review. Ahh, yes, one of the "worst albums" according to the global stats for this generator, and had me genuinely curious. For those who are unfamiliar, Einstürzende Neubauten is a German experimental music group led by Blixa Bargeld, who would later become a founding member of Nick Cave and the Bad Seeds. One of the trademarks of the group is that they utilize self-made or found objects as instrumentation, such as metal plates. While they will use these unorthodox instruments for more conventional sounds in later recordings, their early work is notably harsh as Bargeld would scream and shout over banging and scraping metal percussion. Case in point, their debut album, Kollaps, is defined by that style. This album can make or break people without more formal introductions to elements of industrial, experimental, and German music. Thankfully, I've taken multiple courses in music analysis back in college, and I got this record after over 300 albums into my journey, including records that would fit into the above categories. I can't imagine the poor soul who got this as their first album without any prior understanding or context of what the group is trying to accomplish here. With that in mind, I do enjoy this record to an extent. There's an almost primal feel in the abrasive nature of Blixa's harsh vocals over the obtuse percussive elements that weirdly maintain a good sense of rhythm. It must be cathartic for a German music group coming out of post-World War II Berlin, trying to make a living, and experiencing both the frustration and vulnerability of what it must have taken to reconstruct, represented by the use of noises that would be associated with construction equipment. It certainly made for a unique experience that doesn't immediately deter me away, especially with how creative they get, such as the pitter patter of water before the visceral screaming on "Negative Nein" or the literal drill beat that opens "Steh auf Berlin", and the twisted instrumental rendition of Serge Gainsbourg's "Je t'aime... moi non plus" that adds a bit of black humor. Yet, for as much as this album clicked for me, there are still issues I have with it. Besides the obvious lack of cohesion, which may be the point, some songs tend to make a more lasting impression than others. Given the multitude of short tracks that run under two minutes, there isn't as much room to allow the compositional identity to sink in before being launched into the next. This sentiment also extends to the closer "Helga", which felt abrupt as an ending with the ten seconds of radio transmission before cutting to silence. Still, I was intrigued by Kollaps in all its outlandish execution. It's not an album that would easily get made in today's world, with the way the music marketing landscape has shifted, which makes this record feel special.