Kollaps

There are some albums and artists that have a reputation of being challenging - Lou Read’s Metal Machine Music, Frankie Teardrop by Suicide, and most things by The Fall. Einstürzende Neubauten certainly belong on that list and deserve to be heard at least once. It’s classed as industrial music, but when you get past the drills and hammering metal there is a lot here to appreciate. There are drum rhythms that would fit right into a Steve Reich symphony, electronic screams, sonic gloomscapes that fill your head with noise and even a cheeky cover of Je T’Aime Moi Non Plus. This is not an easy listen, but it is an exhilarating one. Chainsaw-tastic!

There’s a temptation with records like this to treat them as endurance tests, or as important artefacts to be respected from a safe academic distance. But what struck me revisiting it now is how physical it remains. Not “heavy” in the rock sense - heavy in the sense of weight, impact, resonance and pressure. You can hear rooms reacting to force. You can hear objects behaving according to their material properties. Forty years later, when almost anything can be simulated cleanly and infinitely inside a laptop, that still carries unusual power. What also becomes clearer with time is that this isn’t simply Year Zero iconoclasm or anti-music provocation. There’s already a lineage underneath it - Kraftwerk’s systems, Can’s repetition, German post-war modernity trying to invent itself outside Anglo-American rock language. The difference is that the sleek mediation has been stripped away. If Kraftwerk often presents the machine as elegant design, this presents infrastructure as lived condition - strained, metallic, unstable and psychologically exhausting. That’s why it increasingly made sense to me not as “noise” but as environment. Once you stop expecting conventional songs to emerge from the wreckage, the album starts functioning more like weather, architecture or civic atmosphere. Repetition becomes structural rather than hypnotic. Rhythm feels less like groove than labour. Even the clatter has internal logic once the ear adjusts to the idea that the machinery itself is part of the composition. What surprised me most this time was how many later cultural forms quietly sit downstream from it. Not just industrial music, but percussion theatre, found-object rhythm, machine aesthetics, infrastructural staging, even things as outwardly audience-friendly as Stomp. The idea that impact, metal, repetition and physical process could themselves become performance language no longer feels radical because the language escaped into culture decades ago. And yet the record still retains something genuinely unsettling. Not because it is chaotic, but because it sounds coherent in a way civilisation sometimes does under stress - systems continuing to operate while the human beings inside them absorb the strain. That may be why the closest modern comparison that came to mind during listening wasn’t another album at all, but the Down Deep in Silo: machinery not as background but as habitat. The remarkable thing is that the album still communicates all this without softening itself into accessibility. It remains abrasive, difficult and at times actively hostile to comfort. But the hostility no longer feels performative to me. It feels necessary to the world the record is trying to describe.

There is more method to the madness here than the Residents album I had 2 days ago. It sure sounds industrial because half the album sounds like the construction site next door. But in like, a cool way. The drills and drums make for a pretty good album to listen to. It does lull a bit more at the end, but only relatively. I really like how bizarre this is.

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?

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.

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

Scream, soft ears!

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.

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

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

A good album. This is an early industrial album and it makes sense. The singing matches the music. I quite enjoyed. This is one I should hear before dying.

This is definitely the weirdest album I have ever listened to. I am pretty sure the meaning of music is pushed to its absolute limit here. While it is unlikely hat I will ever listen to it again, I am in fact curious about their other albums, mainly because it was likely to be a big influence on other industrial artists such as trent reznor of NIN, al jourgenson of Ministry and Nivek Ogre from skinny puppy. I do hear a little bit of those bands from this album, so I do appreciate it, even though I prefer my industrial music to be a bit more rhythmic and electronic.

Found myself rather relaxed by this at times. Something about the primal rhythm matching with my resting heart rate in the air conditioned office. The periodic bashing and screeching took me out of this state obviously, but this is the stuff, the difficult listening, the outsider music, that makes the project all worthwhile.

When I'm at the office, I love listening to the album of the day. This time, it was an album that broadens your perspective on what music can be. For that reason alone, it's more than deserved to be on this list.

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.

Gar nicht so schlimm wie die Rezensionen ausmachen. Es fängt mit den schwersten Lieder an, aber die zweite Häfte ist eigentlich geil. Die Songtexte geht hart und es gibt viele coole Ideen da. 6/10

YAY!!! The supposed worst album on here!!! I’ve been looking forward to this day! This is one of those times where I think an album that sounds bad to me personally but at least was made with vision and heart is WAAAY better than some generic shitty soft rock stuff. There’s actually some good stuff on here if you can get past it. It’s anxiety inducing and fuck man, I might get laid off from my job at any point and honestly this has been a better reflection of my feelings than any other music I’ve heard in a while.

If we examine the zeitgeist and malaise of cold-war West Berlin and the overarching fears of nuclear annihilation, we see the origins of...nah just bullshitting, this album is crazy. "Everything's a Drum" taken to the extreme. Power tools, banging metal, screaming, and the occasional real musical instrument thrown in. Chaos, but interesting to listen to once. As far as this being the lowest rated album on the list at the time of writing this, I honestly would rather listen to this again than the 3rd album from some derivative 80's synth pop group. Save me. As some famous musicians once said, "It’s such a fine line between stupid, and uh…clever". This group is stomping all over that line and just could not care less.

Yesterday I gave an album 3 stars because it was too repetitive and the singing was bad. This album has that as well, but here it's obviously on purpose. I generally agree with the low rating of the lowest rated albums on this site. It's easy to understand the issues that people have with this album, but I don't hate it. It makes sense to me. Favorite song: Steh auf Berlin

fascinating album. it is genuinely so cool to listen to. it's really hard to listen to. it is about as industrial sounding as you can get. literally. a lot of this album sounds like it was recorded in a manufacturing plant or something. i don't know that i ever would have sought out this album or will ever seek it out again, but i do think it's cool and fascinating. how do you rate something like this? one of the most interesting sounding albums you've ever heard, but also one you never want to listen to again? i don't think i properly can but the closest approximation i can give it is a 3.

"If you're fond of sand dunes, and salty air; quaint little villages, here and there..." GTFO All I got for you is an angle grinder and a lump hammer, in the cavernous blackness of an abandoned German factory, under the tortured howls of a maniac. A European take on the birth of industrial techno? I kind of wanted to like this but it certainly ain't a relaxing listen. 5 for integrity, 2 for actual listenability 🫠

I admire the all in commitment to this and can see how it fills a spot and then influences other music but it’s not for me… a later song by the band came on afterwards and it was much more listenable than anything on here.

This is interesting! I was really into Ministry and Skinny Puppy back in the day, but never listened to this band. Can definitely see how powerfully they influenced a lot of the industrial music I liked as a teenager. I don’t really want to revisit those days, but this was a fun journey.

This record being on this list is iconic.

Industrial noise? First 3/5 Again? 3/5

I must give it credit, maybe for the punkiness and energy or at least for the courage and shamelessness of releasing this album in 1981. I'm pretty sure it sticks with Gen Z without problems but in the 80s? Good move, guys!

If you wanted a post-kroutrock, not quite industrial avante garde german album - this is for you! Otherwise, it sounds like someone's art project in sound. It was interesting enough, but I can't imagine someone saying oh I need to add this to my regular music rotation.

I lived in Berlin as the Neubauten emerged. One of the places they played was the SO36 in Kreuzberg, where the newly formed Punk and New Wave bands performed. DAF, Fehlfarben, Die Toten Hosen, Die Ärzte, Slime, Neonbabies, but also Dead Kennedys, The Cure, Adam and the Ants, The Fall, and Joy Division/New Order, to name a few. Kreuzberg was a quarter of the Anarcho culture, Hausbesetzer (squatters), violent demonstrations, and clashes with the police where places were completely wrecked. But Kreuzberg was also the biggest Turkish settlement outside Turkey, called Klein-Istambul (little Istambul). In this strange and crazy mixture, Neubauten was formed nearly by accident. Their unconventional approach, breaking rules and norms was like a trailblazer for many emerging artists. Don't get me wrong: I don't "like" the Neubauten. But I lived in West Berlin during that time and it was a very intense atmosphere in the city. This is reflected in their music.

This was cool - a lot of it is more like motifs or experiments than what a typical listener would call a song but the sounds and energy are visceral to say the least. I read a bit about Einstürzende Neubauten (Collapsing New Buildings) - seems like their later work is less abrasive, I'm curious to check it out sometime.

I wondered to myself what album I was going to get while I was doing my prep for my colonoscopy and was hoping it would be something fun and distracting. Then I thought to myself "lol watch I'll get that weird German album that is sitting at lowest rated". Imagine my shocked pikachu face when I rated my album for the previous day and low and behold... there it was. Since I'm only 20 albums in the odds on that are pretty low, but here we are! The first track in I was instantly thinking about NIN (which I do like at least some of). A quick google search confirmed for me this is one of the influences for their music. I can definitely see how this had an influence on other bands and because of that I think it's worthwhile to listen to at least once in your life. It's not really "enjoyable" but it is "interesting". A lot of disjointed screaming/yelling and discordant noises. Also including banging sounds, sudden distorted instruments that fade in and out, and power tools. Maybe it's the lack of solid food, maybe it's Stockholm syndrome, but by the end of the album I was kinda digging it? I'm not sure if/when I will ever relisten to it but it made me feel a way I don't really know how to describe, and I can't say anything else I have listened to has given me the same feeling. I was left questioning how to rate this. Based on how I have rated my other albums, it should probably be a 2 but I think I kind of want to bump it up to a 3 just to counterbalance the lower score a little. I do think it's worthwhile to listen to. Even if it's just to widen your music knowledge, and know stuff like this exists out there and there are people who enjoy it.

I went into this with low expectations given that it’s the lowest rated album of the list on this site. And then… I kind of liked it. Like, I don’t really want to listen to it again, but it was interesting. And imaginative. And transgressive. Then again, I was a composition student and I heard a lot of fucked up shit passed off as music back then, so maybe my tolerance for noise-music is high. It’s actually a lot more musical than I think some people are giving it credit for. It’s not just noise and it’s not just random. There is definitely some thought behind it all and it effectively makes the listener squirm. I’d rather be confused by this than bored by something else.

Grew on me. Not sure I'd listen again though.

Maybe the fascists were right about abstract art

Well this was a thing. An hour of metal bashing and shouting. I’m sure more clever people than me will identify how this is influenced by the shadows of autocracy and the destruction of war. And there’s probably some truth there, but also I think they like shouting and bashing metal.

Not the best album to listen during a week of intense jaw and head pain. Good that it exists though

One of the rare albums where you can say “that’s not music, it’s just noise” without sounding like an old fart because that’s what they were going for. Some tracks might even feature literal old farts. It was interesting as a one-off, but can’t see this one turning up in my Spotify wrapped.

It's good to hear something different on here. Didn't do much for me but refreshing nonetheless.

Kollaps is not my cup of tea. But, you have to admit that it is better than starting two world wars.

the universe saw me write "pavement is great but it gives me a headache" and then went "is that so? interesting." have to agree with others that, on the merits of this being a unique listening experience, this is a worthwhile album, but i didn't really find much that was sonically pleasing here. of the stuff i did like, it was pretty ephemeral: there were fragments of tunes or sections that made me think "oh, this isn't so bad," but just as soon as these fragments materialized they vanished and it was back to screaming (which, i found it hilarious for the song to juke me out like that. you thought???? i thought, indeed). no surprise that nothing here ended up being saved, but hey - it was interesting, i laughed a few times, and i had something to talk / think about. feel pretty positive about this album even though it's at two stars for me.

Baustelle, Dischingen, Deutschland. Ja, schon arg bizarr.

Sounds like a 3-hour visit to a crazy evil East German dentist, and about as much fun. That said, not entirely without artistic merit so 1.6

Truly industrial music - sounds like an evil factory at times. Grinding, thumping and abrasive. Experimental and harsh. A unique listening experience, almost like a malevolent production of STOMP. Truly wild and would only listen again if I had to give a WWII soldier PTSD.

This one... Power tools, kids playing drums on dishes, a German screaming nonsensical words... As a German myself, I sadly understand what he is saying and it does not make it better... However, there where moments, brief ones, that I liked or that made me laugh... I did not hate it but man, this is work and I do not want to listen to it again (unless maybe I do)

Of all days to get this album, of course I have a headache! Seriously though, this is a really cool addition to this list, even if at the end of the day I didn't really love listening to it. It's nice to get an album here to really take you out of the mainstream rock/pop world, and really challenge your ears. I could make an argument that a list like this should consist ONLY of albums in this kind of category; not well known, something you'd never hear on the radio or walking through the supermarket, really challenging the traditional notion of what "music" is. It's been years since I first was exposed to more experimental and avant-garde stuff like this, and I've since grown to truly love music with a similar approach, so this left turn doesn't come as a massive shock to me. Here is an artist I was not familiar with before, so I definitely didn't know what to expect, but I had a feeling we were going to be venturing more into the "weird" territory. Lots of metal clanging here, that's for sure! Overall a bit less musical to my ears than a lot of other avant garde kind of stuff, but I ended up enjoying it a bit more than I initially expected. If nothing else, I really do appreciate music like this that really sticks its middle finger out to the status quo/mainstream/what people expect from music, and it is truly refreshing to hear something different from this list. I wouldn't say I'm chomping at the bit to explore more or revisit, but I wouldn't be opposed to more exploration. I think overall I'd really like to give this a 2.5, but since I've gotta stick to the scale, I'm going to round down to a 2. Despite enjoying listening to it, I think its easy to say a lot of the enjoyment was just in the fact that this was something drastically different thrown at me. So it's less of a hateful 2, and more of a 'that's neat' 2...if that makes any fuckin' sense.

Five days after seeing a standup comedian reference this band in her set, we are blessed with this: the least liked or second-least liked album in the collection. Certainly not my favorite album so far, but far from my least favorite. At least it’s not fucking Peter Frampton. Oh hey, I actually liked the title track! What a fun surprise. I was totally expecting a “I respect this but I don’t like it” album and I maybe like it ever so slightly more than that. Not going to get a lot of airplay in the house, though. I’m actually torn between a 1 and a 2. I was never bored! That’s good! But I only liked the one song. I’ve given 1s to albums with songs I liked before. Much to consider. You know, I think I’m going 2 for the simple reason that I do think this is worth listening to once, which sets it apart from much of the 1s I’ve awarded. This is very much in the spirit of the project and I appreciate that.

I was gonna say something funny, but I don't want to get cancelled.

They're so angry and disorganized. In a nutshell, this is why Germany keeps starting (and losing) wars.

Well, here it is. The lowest rated album on the site, next to Throbbing Gristle. I don’t know if I was mentally prepared for this one. Experimental music always felt like the “we make some random shit, let’s see how it make you feel” genre. It’s not made to be consumed like regular music. It’s made to provoke a reaction. In this particular case, I was willing to give the album a chance and sort of grade it on a curve. With that said, here’s my take. It’s mostly a bunch of noise being made from banging various things along side some angry German screaming. It is mostly not very pleasant, and some of it made me physically wince. Honestly, some of the screaming acted as audio jumpscares, which probably makes this a terrible album to play while driving. The fact alone that this album makes me actually cringe should warrant this album into getting one star. However, there are some things going for this album. 1. It’s experimental, so that’s kind of the point. 2. I actually liked a song (god forbid), the title track. Yes, the longest track on the album. The rhythm was good and it wasn’t a complete tirade on my ears. And 3. This album provoked more reaction from me than some of the hour long snooze fests I had generated prior, particular some of the electronic ones. Would I listen to this again? Hell no. Do I think it’s the worst album I had generated? Also no. But I completely understand why it is rated like this. And honestly, I don’t even really like it. Being experimental doesn’t mean being immune to being called shit just because it’s weird. But I feel there’s worse than this, so I’m giving it an extra star. Most tolerable track: Kollops Other tracks I didn’t hate: Jet’m, Sehnsucht

Um. Okay. I had no idea what I was getting into and when I put it on my head I almost immediately removed it. Then I read just a little. Early industrial music, using actual industrial machinery and garbage for percussion, along with ear-challenging synths and processed vocals. I went back in. I'm glad I did, but I don't think I'll ever need a full re-listen. It is an auditory assault. But again, it's apparently one of several seminal albums defining and initiating what we call "Industrial Music." (I'd actually give this a 2.5)

As an album filled with the sound of a German fella shouting while banging about in the garage goes, this one is right up there. The fact that I would rather listen to that german fella over some of the more crappy albums on here (I'm looking at you Kid Rock) is the reason I'm not going with a 1*

this is frustrating stuff. they've got the sounds, they've clearly got some sort of ethos/attitude, but they don't have anything close to a song. a bit of a hook or something resembling a purpose for each track is completely missing. so it ends up sounding like something you'd stumble across in an art gallery or museum that you just clearly aren't arty enough to understand.

I didn’t listen to this album because I’m not into German music.

This was my least favourite album so far, as such I could not settle on one negative review and have instead written several- -This album makes me feel like I'm a german teenager in the 1980s discovering myself in a warehouse basement somewhere in Düsseldorf; and I hate it -I can very much see the appeal of industrial music unfortunately I can't hear it -ouch oof ow my ears aaaarrrghhhhhhhhhh

Choose one: a) This makes Kraftwerk sound like the Dave Matthews Band. b) This makes Swans sound like the B-52s. c) This makes Throbbing Gristle sound like Mariah Carey. d) This makes a handful of silverware in a garbage disposal sound like Mozart. e) All of the above When you have completed the test, give your answer sheet to the proctor and return to your seat. Scream your full name as loudly as possible and do not stop until dismissed by the proctor. Any stoppage in screaming will result in automatic failure of the test. You have four hours to complete the test.

Like actual trash. This is not music. It's noise pollution.

That was certainly an experience. Not my cup of tea though. I thought it sounded like having a bad trip and ending up in a construction site in Berlin in the 80s. They're certainly bold, angry and uncompromising. There's an argument to be made about the cultural significance of this record, what it represents given it's place and time, and how it upsets certain expectations we've come to develop around what modern music should sound like. Beyond that, though, there must be something of substance. It might be the language barrier (even though I gave it a quick read to see what the songs were about). But musically this was rough and an almost punishing listen. A lot of it is on purpose, they sound deliberately transgressive. But as a listener, what do you get out of it? The vocal quality is very lacking, melodically it's very poor (given it's minimalist approach) and even though it's heavily percussive and noise-based, it didn't feel as inventive or clever as it could have, particularly for such an experimental record. I'll give experimental art a try simply to see what it brings to the table, but with this one I don't feel like there's any sort of pay-off at the end of the album. Maybe there's one after successive listens, maybe the lyrics hold deeper meanings that I missed, maybe I'm not such a big fan of industrial/noise and this isn't for me. Or maybe this is just a bunch of distorted construction noise with someone screaming on top of it. Maybe all of that is true. But in the end, I just didn't like it enough to give it another go.

Phew, that was unbearable. I tried. And I would have liked to like it. But I just can't. This cacophonous noise may be groundbreaking, but I don't want to follow that path. I'm sure there are some great ideas behind it. And if the goal of the album was to cause general disturbance, it certainly achieved that. Nevertheless, I don't like it and won't listen to it again. 1/5

If you ever see that guy on your Instagram Reels with the pickles slapping his face? This is the musical equivalent.

It's very weird everything is just not together at all it just feels like they put a bunch of people in a room told the singer to sing in German and the rest to do whatever they want it's just not together at all I'm having a very hard time listening to just one song

Not super interested in the question "what IS music?"

This is worse than all the hip hops in the world, combined together.

Demonic album that obliterated my eardrums. "Kollaps" must've set a record. I had to stop listening around the 0:34 mark.

2/10 I want a survivors T-shirt for this album. It's comical really, banging and drilling and shouting. Being in German, the lyrics are obviously pointless to me as a non-speaker, so there is nothing to gain from it there. Why not 1/10? Well, there is some rhythm to it and it is certainly challenging. Kind of made me think about what is the point of music - is it to only be beautiful or meaningful? How wide is that bracket, and isn't it boring if nothing else is worthy? I don't think I know, but ultimately this didn't bring me any joy or touch me in any way other than the satisfaction of making it through.

2nd worst album on the list and for good reason, to be assigned this the day after Captain Beefheart is tortuous, I am almost afraid to see what today might offer up zero stars

This made me anxious so I stopped listening.

In my house we use the word Kollaps (sounds like college) when cats do that thing of stretching their neck out to be tickled and then kind of fall into a lying-down position, still with their head up to be tickled. I don’t know when we came up with that term but we’ve used it for years. It’s very sweet as opposed to this cacophony of industrial sound and squawking which makes me feel like I’m in the middle of a construction site. There were a couple of moments when I could hear sounds akin to Spear of Destiny or Bauhaus. And then - horror - there was the trashing of Serge Gainsbourg! Unbearable!

28/100. Industrial in its rawest, most abrasive form. The harsh, clanging noise and relentless intensity in the early tracks honestly gave me a headache. It’s a tough, unforgiving listen. While the sound became a bit more tolerable toward the end, I found very little enjoyment overall.

It's like stomp before there was stomp. It was weird and not enjoyable, though I am sure it means something important in some corner of music.

01) Tanz Debil - 2,0 02) Steh auf Berlin - 1,0 03) Negativ Nein - 1,0 04) U-Haft-Muzak - 1,0 05) Draußen ist Feindlich - 1,0 06) Schmerzen Hören (Hören mit Schmerzen) - 1,0 07) Jet'm - 3,0 08) Kollaps - 1,0 09) Sehnsucht - 2,0 10) Vorm Krieg - 1,0 11) Hirnsäge - 1,0 12) Abstieg & Zerfall - 1,0 13) Helga - 1,0 14) Schieß Euch Ins Blut - 1,0 TOTAL: 1,29 (13/100) Current ranking: 517/517 This would be a good way to torture the prisoners at Guantanamo. I don't know why, but while listening to it I felt more than once like it was 1939 and I was at a Nazi party rally. "Scum" by Napalm Death is my lowest rated album so far, let's see if this one beats it! I refuse to listen to the extended version of the album, these 14 "songs" will be enough.

Sounds like Hitler frustratedly trying to put up a shed for half an hour

This just felt like noise.

Strange

I like the concept of noise music, but I've found that bare-bones noise/industrial records like this one tend to be rather boring and not really appealing to me. I like when noise is used as an extension of other genres, to add more weight, texture, accetuate certain parts of the record. Kollaps, however, doesn’t do that and is mostly a sound collage of different noises without a concrete structure. Look, I don’t hate noise. The genre that got me into music was metal, which tends to be pretty noisy. Noise rock and shoegaze are some of my favorite genres. And my favorite band, Swans, used to be a noise rock band and still frequently incorporates elements of noise into their music. I understand that all I’ve listed here is basically "child's first exposure to noisy music," but I'm totally fine with liking it. Kollaps is a lot more sonically offensive than most of the noise music I like. This is not a problem on its own. What I don't like here is that there's not a lot structure or musicality, which is also not necessarily wrong, but I think there's only so many of music conventions you can sacrifice before it becomes completely unengaging. I'm not saying "This is literally not music!" and I actually find that kind of attitude to be incredibly annoying and unfair. Who is to decide what counts as music and what doesn't? This kind of discussions are stupid and pointless. People come up with all kinds of arbitrary boundaries, but always fail to explain why would any of that matter. Jazz is not music because "it's just improvisation"; hip hop is not music because "they're just reading words" (also, the ones who think that tend to be not the biggest fans of black people, but that's a different story); metal is not music because "it's just random noises and screaming," etc. You know, vocals didn't used to be a part of the classical musicians' (who’ve invented music theory) repertoire originally. Does that mean every song that has vocals is not music? People need to come to terms with the fact that music, just like any other art form, constantly expands it's bounties and evolves. Whether you like these evolutions or not is irrelevant and doesn't make them any less “music.” Experimentation and diversions from popular norms lies at the core of art and is what makes it so exciting. I think noise music is totally valid, and you're allowed to dislike it, but "this is not music" is not legitimate criticism. This is also not what I dislike about this record. I don’t like when artists use the whole dynamic range their recording equipment allows as I have to lower the gain and make the quiter sounds way too quiet just so the louder ones don’t obliterate my eardrums. I like music to feel actually mixed. I like music to have structure. A typical framework of buildups and crescendos is far more satisfying to me because of the way it balances anticipation and relief. In place of that, Kollaps has quiet, droney backdrops occasionally interrupted my loud metallic noises or screaming vocals, which are not pleasant to the ear (and yes, you can make noise and screms pleasant). The title track is good, though, but it is also the one which the furthest removed from the rest of the album’s soundscape. I wouldn’t call Kollaps completely unlistenable or a total disaster, but I can’t say I enjoyed it. It’s not for me. If you’re a big fan of noise, you may like this, but I personally wouldn’t recommend it. 3/10

Yes, industrial experimental music can be too experimental.

Lord have mercy on us all, this sounds like WWII the Musical

From Wikipedia: One of their trademarks is the use of custom-built instruments, predominantly made out of scrap metal and building tools, and noises, in addition to standard musical instruments. Their early albums were unremittingly harsh, with Bargeld's vocals shouted and screamed above a din of banging and scraping metal percussion. Need I say more? This album is a cruel joke to see how horrifically bad these noises can get for people to consider it as music. This is beyond torture music, this is the music that greets you at the gates of hell, clicking 1 star pains me as this is a complete 0/10.

Un album qu'on attendait avec impatience et qui a bien tenu son rang de pire du générateur puisque tout simplement épouvantable. Merci Robert d'être l'homme que tu es, c'est-à-dire une ordure de première catégorie.

Les liens de Robert avec le 3ème Reich deviennent de plus en plus évidents, cet individu doit être traîné devant un tribunal au plus vite.

2/10. You know, I wasn't expecting to be able to recognize this as music after how everyone talked about it in their reviews. But this is definitely music, just really unpleasant to listen to and super fragmented. And the first 20 minutes or so is really pushing the boundaries of what can be considered music, though it does definitely mellow out in parts, especially because I didn't read the Wikipedia, and listened to the extra tracks on Spotify, some of which were a bit more chill. So I can see why this is an interesting album, and how it became an influential album. So did I like this album? No. Will I listen to it again? Probably not. Am I glad I listened to this? Yes, and I can't say the same for a plenty of the other low-rated albums on this list.

Definitely achieves what it wants to. I can see myself listening to this and writing horror

The manliest album ever, kick-ass. 5/5

It’s 6:30am and I press play on this album just before putting my car into gear on my way to work. Within seconds, I realize I’m in for legitimately the most interesting listen I’ve gotten from this list in weeks. I’m deliberately writing this before reading anything about the album or any other reviews because I can imagine it’s a polarizing album, but I really liked it. Each track felt like it was the length it needed to be, whether that was one minute or seven. I wish I knew German to better dig into the lyrical content, but the (literally) industrial soundscapes and harsh electronic beats set the scene effectively enough on their own. I’m giving this 5 stars, not because I’ll necessarily be revisiting the full album regularly (which is my usual criteria) but because this is exactly what I’m hoping to get out of this project — an album I wouldn’t have otherwise listened to, but which so clearly rooted in a DIY ethos, just not quite in a way that maps into the (comparatively) mainstream evolution of punk. Update: I guess polarizing wasn’t the right adjective, since I’m in the distinct minority of people who enjoyed this lmao

music is love

Loudest music I've ever heard. Full whack for me. Bang, no mash

Obviously this is not going to be for everyone. The band goes far out of its way to be abrasive and alienating. Through texture, rhythm, and an uncompromising aesthetic they create a whole other world for you to feel uncomfortable in. This is what I signed up to this project for, not to hear Hotel California for the thousandth time

Music to get hurt to. Distinct from music to hurt yourself to. This is the soundtrack to getting a brake disc thrown at you, and then poking the tender skin until it gets inflamed. This is soundtrack to getting your teeth knocked in with a utility chain. Beyond daring (if the band's live shows were any indications) this is some of the rare music that might be positively, *gloriously* dangerous. This is spiritually the grandfather of Yamantaka Eye, as well as Facade (a band I caught at a noise festival who dumped a bunch of lightbulbs all over their drumkit, destroyed an 8-pane window, and played until their drums were unusable, after which they constructed a kind of sculpture with the remains). Yes, it's loud, and it's abrasive, and abstract, but that's because it is supposed to hurt, at least a little. It's a celebration of noise as music, music as noise, noise as noise, and found, industrial objects as strange little art pieces, in and of themselves. Besides, if you really dive in here, I honestly think it's more tuneful than people are willing to admit. These are still structured like songs, there's a strong rhythmic center at pretty much all times, and the vocals make some level of sense. There *is* stuff to latch onto, even if it is, admittedly, abstract. What really pulls this ahead to me is imagining how this is it's stubborn singularity. On later Einstürzende Neubauten albums, the band is still frightening, but they also resolve into something that makes more sense within a broader experimental music context. After they get a couple of albums out, you suddenly have some context for the band, and this is magnified for someone like me, who can listen to this and find everything about the band, their history, their techniques, their philosophy on the internet. But, if you found this in a record store in 1981, you wouldn't have any other album from the band to compare it to, and you could only know what the liner notes tell you. This *sounds* like it could have feasibly been recorded by like a junkyard punk cult. This sounds like it comes from the fringes of society, and even though we now know more about the band, Kollaps' sound is powerful and uncompromising enough that this illusion kind of persists. This *still* sounds alien and dangerous, more like genuine found footage than an artistic endeavor. The overall experience is truly exhilarating, and wildly unique.

no entendí pero me gustó

Good noisy nihilism for the whole family

When I visited Joe a couple years back, we watched two movies over the course of that long weekend: '2001: A Space Odyssey' and 'Jackass: Number Two.' While I laughed hysterically during the latter, the former engenders a more existential laughter, a laughter of nervous dread, or perhaps of seeing the vision of a deranged genius pulled off with overwhelming skill and ambition. I'm not sure exactly why I find '2001' so funny throughout, but I found myself laughing in much the same way throughout Kollaps, a wide grin eking out from deep within my Self.

I get why this is the lowest ranked album on here. But to hear the first album in a new genre is important. More of this, less Beatles

Vi a Einstürzende Neubauten sin saber bien de que iba a la vaina en el FIB de 2004 y me volaron la cabeza (y eso que venía de ver a Wire). Pero, aunque es un grupo famoso por su directo –y no es para menos si sacas de paseo una puta turbina de avión– tienen discos fabulosos como este, donde el ruido resulta, incluso, sensible. Una puta pasada. PD: Lo he escuchado hoy mientras hacían por ahí una obra y se integraban de forma muy orgánica los taladros y martillos neumáticos.

Brilliant - just one or two songs I have to skip because of my stupid migraine disorder. Such interesting songs and they really hold up

Morgenohrenschmausüberforderungverordnung. c

I came upon this album organically maybe a couple years ago. Love. Not sthg I listen to often, but it’s absolutely sthg to throw into the random mix. To my limited understanding this came up towards the tail end (& relative fringe) of the krautrock scene/era that I studied over the last couple-three years. Rating this one’s a curious predicament. I don’t think it’s “fair” to try & position it on the same overall rating scale that I use to judge sthg vastly sonically different (re: traditional, melodic, “pretty.”) So I want to consider it more in its own context. I think, that in their corner of the music universe, this album must be about a 7 or 8 out of 5. But also my experience with this particular corner is so limited that I want to allow space for those unknown unknowns. Then again, what in holy hell could possibly surpass it? Final judgement: 4&1/2 stars plus an asterisk noting it’s qualified transcendence

Y'all, this is pure and unapologetic and I love the way it makes me think and feel about music. I might not be compelled to listen to it on regular rotation but I am so glad that I got to experience this album.

5. long awaited

So work has been a bit shit lately; loads of stress and frustration. The other day I was headed into work dreading a presentation while simultaneously lamenting the fact that I didn’t even have time to give said presentation with all of the actual work I needed to do. Well, I’d been listening to a lot of early Nick Cave at the time, but somehow even the Birthday Party wasn’t able to cut through the mood I was in. I ended up putting on Halber Mensch by Einstruzende Neubauten and suddenly I felt a weight off my chest. I followed Halber Mensch with Kollaps and Kollaps with Tabula Rasa. I don’t know what it is about their music specifically, but it gave me the catharsis I needed to right myself and keep pressing on. For a more light hearted aside, I absolutely love that someone thought it was a good idea to have Einstruzende Neubauten open for U2 during their Zoo TV Tour. They were apparently thrown off the tour after the first show when they threw an iron bar into a booing crowd. Personally, the only thing I find surprising here is that they were given the opportunity to open for U2 in the first place. Like, there aren’t many bands that would even have iron bars available to throw into a crowd in such a situation, but obviously Einstruzende Neubauten would. Anyways, this is an album that I love. It’s also an album that I would not recommend to most people, but I will still argue it absolutely should be on a list of 1001 albums you should hear before you die. It's a bit of a paradox.

ihr checkt halt einfach nicht

The most industrial album of all time.

Albums like this are the reason this list should exist. It's strange, it's distressing, and I never would have sought it out on its own. But it's the kind of thing that everyone should hear at least once. Great music provokes an emotional response. The album starts incredibly abstract and industrial, building track upon track until it reaches the title song, which is the first piece on the album that sounds like a traditional song. It's a moment to breathe, but even still, the driving beat keeps up. After "Kollaps" ends, it dissolves back into sounds of metal clashing and abandons the pretense of melody and harmony. It's an utterly unique experience, and puts me in the mind of an art gallery, which is neat. Favorite track: "Kollaps"

This is absolutely mad and unique for its time. Although it's an early industrial album sonically, I'd also regard it as punk in the sense of it having that DIY "fuck you, we'll convey our message however we want" attitude. And boy, did they. Who else was making anything as abrasive and unnerving as this with power tools, metal plates and other shit they found in the local scrap heap, whilst tying it together into something which oddly flows together seamlessly against the odds? You perhaps had Cabaret Voltaire, Clock DVA, SPK and Test Dept occupying similar spaces in terms of releasing overwhelming, challenging music with unconventional instruments, although Kollaps took the idea to a whole different level. Einstürzende Neubauten went on to do even better things IMO, but Kollaps deserves to be acknowledged here nonetheless. I've got Halber Mensch, Hans der Lüge and Silence is Sexy in my collection, any of which would have also been more than justified inclusions in this list by taking the experimentation apparent here into different, but equally thrilling directions. Kollaps is, however, on my wishlist.

ah... voor zulke platen luister je naar de 1001... iets dat grenzen aftast (en overschrijdt)... iets dat mooi is door zijn lelijkheid... geen plaat om je dansvloer mee te vullen (daarvoor staan er genoeg platen van dertien in een dozijn in deze lijst)... verdiende voor mij een dikke vier, maar om hem wat hoger te krijgen geeft ik een 5

My reason for giving this five stars is I'm glad I listened to Einstruzende Neubauten before I die which is the objective of this list. They forged a path for dozens of artists that I love and I think what they did was important for music. My only real personal gripes relate to either the recording quality or mastering I'm not really sure. I listened with lower-end headphones just streaming on spotify but I'm not sure the problem lied there. I wish it had been captured at a higher fidelity at the time.

Endelig litt støy! Og ikke bare støy, men forunderlige lyder og arrangementer også! Jeg må ha utropstegn etter hver setning!

I LOVE ABSTRACT NOISE MUSIC RAAAAAAAAAAA

I can’t believe this is the lowest rated album. This is epic.

JES. Tuo ensimmäisen kappaleen, Tanz Debilin, ja Steh auf Berlinin välinen siirtymä ennakoi, että tästä albumista tulee erityinen. Kuultuani niin monia eri genrejä, jotka seurasivat tätä 80- ja 90-luvuilla, kuten birthpop, punk, world-musiikki ja avantgarde, tämä albumi ei ehkä kuulosta kovin innovatiiviselta, mutta kun pysähdyn ajattelemaan, että tämä on se alkuperäinen albumi, josta kaikki alkoi, sen vaikutus ja merkitys tulevat perspektiiviin. Albumilla on 23 kappaletta, joista 22 on upeita ja ansaitsee 5 tähteä, ja vain Draussenin Friendlich jää paitsi. Albumi kuitenkin päättyy Rivieradubiin, joka on jälleen loistava siirtymä heidän parhaaseen kappaleeseensa ikinä, mielestäni, Lünebest. Ja kaiken kukkuraksi tämä mestariteos päättyy kenties uskomattomimpiin loppunuotiin kaikista kappaleista ikinä. Joten se korvaa Draussenin, ja miten vain! Joten olen iloinen voidessani antaa tälle albumille viimeisen 5 tähden arvosanani. tanz debil

such a perfect combination of the most pleasant sounds! in fact I just want this album to make up the first place everywhere

ofc, almost nothing else on this list could beat this record in raw Cool Factor. but that does kind of illustrate the limits of this list in some ways, as despite all the crazy "sound design" (smashing metal objects together) replacing all conventional instrumentation, this still holds on very tightly and recognizably to Song Ideas, even if in a minimalist punky sorta way. its a lil disappointing to realize this is probably the most abstract this list gets yk yk. not an actual problem with the record tho! its hard to deny the music is awesome..masochistic yes ofc, but i dont experience it as necessarily Dark yk (maybe if i knew the lyrics this would change). its just kind of inherently playful and even fun, in the way only this kind of noisemaking can be, esp since its all so physical...i generally prefer my industrial and industrial flavored music being for cool explorations of Synthesized Sounds, but the fact that there is just no ephemerality to this whatsoever is also super interesting. its all very mundane, which is a fun word to be able to use ab a record like this. really the most normal album ever made when u think about it!

Loud and angry 10/10

Absolutely loved it. The only innovative and really interesting thing from this generator so far. It's less musical than probably a lot of people are used to, but it makes up for it by being artistic and evocative. This will definitely go into my favourite albums list.

It’s stuff like this I was hoping to hear when I signed up for this.. something interesting I’d never have otherwise been exposed to. Supposedly this is the lowest rated album on the list? I get it. It’s not easily accessible or even listenable especially if you’ve never heard anything like it.. I can hear the roots of NIN and bands like Skinny Puppy in the sounds. There’s little melody. It’s noise.. but that’s purposeful. It made me think about the songwriting, the recording (1981 so reel to reel and multitracks), what a live show must look like. And beyond that, the question of where is the boundary between noise and music? The evolution of the musicians to get to this point. I’m REALLY glad I heard this even if I’m not sure I’d listen again.. though unlike many other albums I’ve heard so far, this one is sticking with me the day after. So fuck it.. giving it a 5 because of all of that.

I bought this album back in the pre-internet days when finding this kind of music was a bit of a challenge. Ordered it via a record store in Edinburgh. This album started my love of Einstuerzende Neubauten's music, and I've followed their albums since then. This album is a massive rush of heavy percussive music made with heavy duty metallic objects, some are 'found' objects, some constructed. The album sleeve has a photo with the band and their kit laid out - reminiscent of the back sleeve photo of Pink Floyd on their Ummagumma album. I'm not sure this would be the best pick of Einstuerzende Neubauten's catalogues - later albums become increasingly contemplative, but by golly it's an album this list needed to have. I notice that recent CD versions of this album include the cassette-only release Stahldubversions. In style this would be classed as 'industrial punk' I guess, and Einstuerzende Neubauten was one of a number of bands of this style. They did have an influence on subsequent bands, particularly as Fairlight samplers enabled the incorporation of 'found sound' into pop music. I'm thinking of Depeche Mode's 'Construction Time Again' for example.

Never was it truer that you have to be in the right mood but it's spectacular.

Har ägt albumet både som LP och CD. Var lite besviken när jag köpte plattan 1988. Lät ju inte alls som Halber Mensch eller Fünf auf der nach oben offenen richterskala. Men man lärde sig att lyssna på den och sedan årtionden tillbaka så älskar jag skivan. Ska se dem live för fjärde gången i höst när de kommer till Stockholm. Lite kuriosa, jag har deras logo tatuerat på min överarm.

Wegweisend

Alkupuoliskosta ei tarvitse puhua.. Se on sitä mitä nähdään seuraavilla albumeilla... Loppupuolesta.. Noh experimentaalista.. Olis voitu pohtia soundi niissä harjotuksissa ja välttää nolo väläytys albumilla.. Välillä myös paussia.. tiedä loppuuko musiikki.... Ei saa antaa raippaa siitä.. pojat pohtivat... Onko koskaan liikaa pohdittu....... ole mahdollista..

das fehlte mir noch

This record is way funnier while high. Just imagining the band at a construction sight just doing whatever they feel like. This is a fucking awesome record, far from the worst record in the list. So cool how these guys can make songs with random construction equipment

AAA

10/10 filthy fucking garbage - anti-music - ART

Das gut!

Genau so wie ein Kollaps von paar Leuten, die sich einstürzende neubauten nennen, tönen muss! Pure love

my kind of noise.

Strong start; intense, at once shamanistic and mechanical. Second half not as entertaining. Well done.

Amazing 🤩

The start of the end. Fucking brutal.

cool

This is not music it is noise and it's not meant to be enjoyed and you won't find it on Spotify. There are lots of other bands who I prefer over them: Nurse with wound, Coil, Zoviet France, Stockhausen and of course Throbbing Gristle. My vote is for the genre although this this album. Some tracks are more accessible- like Kollaps and Sehnsucht, others are pure noise.

Well ok then. It is certainly not as bad as everyone says. It might go a bit long but I found it mostly enjoyable. I am not sure I would ever seek it out again, but I will bump it up star for pure uniqueness.

I completely understand why this is one of the lowest-rated albums on this site, and I sympathise with those who actively hated it. It was a challenging listen that lacked many conventional elements of music. But, personally, I thought it was rather good, and what it lacked in traditional musicality, it made up for in a number of different ways. Overall, a really unique soundscape utilising unusual instruments, with great percussive rhythms and great vocals. I’m a fan, metal auf metal!

TF was that

Listening to this in a crumbling new building during a European heatwave is spot on I thought I could use it as background music to reading Hyperion (this is what the Shrike sounds like) but it demands attention, there's so much that's interesting in this album

It takes guts, vision, and a whole heap of sheer musical talent to take these components - primitive beats, noises that are truly industrial, shouted spoken word vocals - and have something emerge that is clearly and recognisably music.

There are a lot of adjectives I can use to describes this album: bleak, torturous, obscure, creepy, hellish, intense, aggressive, abrasive, noisy, desolating, crushing, punishing, dissonant, distressing, off putting and... fascinating. Although this album invokes all type of negative emotions, I am impressed by it. I really loved the dark atmosphere they achieved, as it might be one of the creepiest and unique ones I've ever heard. The record starts incredibly abrasive with the songs "Tanz Debil" and "Steh Auf Berlin". The first one features an very distorted and aggressive percussion that its quite hypnotic and heavy, and an angry singer that sounds very menacing with his occasionally screams. In addition, there are some noises added on top from time to time to make the song even more punishing. The second song starts with a literal drill that feels like it is perforating my head. An extremely unwelcoming intro that its followed by a very tribal and not as noisy percussion. In terms of structure, is incredibly similar to the first track, as it is basically a constant and hypnotic rhythm with angry singing and added noises that works quite well. Next is "Negativ Nein", a very peculiar track with watery sounds and a intriguing guitar melody. Not the most remarkable track in terms of aggressiveness or darkness, but still sounds interesting. The next section of the album I would say is my favourite. It is composed by the tracks "U-Haft-Muzak", "Draussen Ist Feindlich" and "Schmerzen hören", and it is one of the most ominous parts of the whole album. These pieces are very quiet, have very slow rhythms and sporadic noises. All these elements create the uneasy illusion of walking in a deserted factory at dark while not being truly alone, as the occasional noises suggest that there is unwanted company. Breaking up a little bit the tension is "Jet`m". The rhythm of the song might be very similar to those in the previous part, but it features a constant melody coming from a... synth? (I genuinely don't know what I'm listening to), that cuts the atmosphere, regardless of how unsettling it sounds. Afterwards is "Kollaps", possibly the most accessible song of the whole album, even though it is eight minutes of the same guitar riff. The track itself is very heavy, and reminds me of Swans' early work (that came after this release), as it is heavy, slow, hypnotic and punishing. Then comes "Sehnsucht", which includes a piano, a softer and more vulnerable sounding voice and a incredibly dissonant synth, making this one of the most melodic sounding moments. After the interlude based on old recordings "Vorm Krieg" is "Hirnsäge", a song that could basically belong to the section I liked so much, as it is incredibly ominous. Maybe not as silent, having a constant and very present bass and guitar, yet matching quite well the same dark atmosphere. Finally, the album finishes with "Abstieg and Zerfall". There is actually another song coming afterwards, "Helga", but being basically eleven seconds of an incomprehensible voice coming from an old recording, I don't believe it really counts as an ending. Meanwhile, "Abstieg and Zefall" is a creepy and very desolating song. The singer sounds quite melodic and the instruments aren't as abrasive or noisy when compared to the rest of material, making the track the calmest cut of the whole, even with its dissonant and unpleasant sounds. Before finishing, it is worth talking about the lyrics. Not the most remarkable element, but they talk about hate, destruction, drugs and other obscure themes that perfectly fit with the album's sound. In summary, I'm very impressed with this work. It is a very unique dark experience, filled with despair, suspense and many other unpleasant adjectives.

Not for sooks. Admittedly a fucking annoying listen but you've gotta trust the process. And put even a hint of consideration into what WEST Berlin was probably like in 1981. Thanks nerds, Blixa would waste all you babies. This project really elucidates the music taste bell curve.

An incredibly interesting album. I gathered it would be a challenging listen based on the reputation it has gained on this site, but man this was much more pedestrian than I was led to believe. I like 90s industrial and most of my favorite bands in that genre owe something to this album.

Listen, I'm North European and I spent my early twenties trawling badly-lit venues with sticky floors. I also speak German. I'm genetically disposed to liking this stuff. And it's fun, good, interesting and inventive.

I totally get why people hate this. I liked it

Honestly, what is all the fuss about this album? At least you can say it's interesting and unpredictable, unlike all the boring Brit Pop crap on this list. It's like listening to a dystopian nightmare, so of course I had visions of Eraserhead and Twin Peaks: The Return while listening to this.

Will have to listen to a few times

Uu, mislim, da je to drugi najslabše ocenjeni album v tem projektu? Nikol nism šla firbcat, kakšen je, tko da - let's go! Taprv ni bil bad, naslov mi je fantastičen ("Tanz Debil"). Ta drug ("Steh auf Berlin") se začne, k da bi moj sosed zalaufal svojo mašinerijo (in se tokrat, hopefully, ne urezal - še kr slišim njegov krik), potem se pa sprelevi v nekaj, kar sumim, je navdihnilo naše The Stroj, ker je bobnanje po nečem, kar niso bobni. "U-Haft-Muzak" ustvari neko napeto ozračje, s tem repetitive, počasnim ritmom. "Schmerzen Hören" - honestly, bolj me je fizično bolel poslušat Kid Rocka. Sicer sm vnaprej vidla, da je "Jet'm" cover Serge Gainsbourg komada, sam pomojem bi dojela tud brez predznanja - zanimiv cover. Uu, naslovni, "Kollaps". Fajn. (Aha, glih gledam, da bi mogla bit "Helga" zadnja, js mam neko verzijo albuma k so še live posnetki zraven - torej, neham po "Helga".) Fak, ne znam tok nemšk, da bi vedla, kaj je Helga na koncu povedala. Oh, well. Kul experience, folk je fuknen, da daje same nizke ocene. A res, raj bi še en mediocre rock band poslušal? Namest neki, kar je dejansko kreativno in unikatno? V bistvu je le ta album en bolj zaslužnih, da je kle gor, da gre folk mal out of their comfort zone.

I was looking forward to this one. Glad it came up relatively early in the journey. It's one if the lowest rated albums in the project. I totally get why. It's definitely not for everyone. And it's certainly not something I'd listen to with any regularity. But it's definitely interesting. It's more on the aggressive side of noise art than I typically enjoy, but as a metalhead, I appreciate it. I can definitely see how a lot of acts took influence from this. The Residents are the first to come to mind along with much of the 90s industrial metal movement. I appreciate the experimentation to define art and music. You know, I enjoyed it. Just the oddity I needed today.

In 2010, a friend and I went to Romania. We were walking around Bucharest one night while he was wearing an Einstürzende Neubauten t-shirt. Suddenly, an attractive, young woman in her early 20s made a mad dash towards my friend with no regard for who she had to mow down to get to him. All she wanted to do was talk to him about his shirt and be smitten. She was his for the taking at that moment and everyone knew it. When we got back, I immediately went on eBay and bought an Einstürzende Neubauten shirt for $20. I go back to the Balkans/Eastern Europe every year and bring that shirt. It was the best $20 I've ever spent. This album is an experience too!

ну хорошие ну молодцы прям брать и на выставке моей включать прям слушать по пути куда-то я бы не стала но задумки творческие с этой музыкой явно есть

This album's like if Swans had 10% of the budget they did when they made Filth, just slamming on whatever's nearby and screaming about random stuff. I like the song that they start by messing with a power drill for 30 seconds. That really sets the tone for Industrial music as a whole, "look at the funny sound this thing makes! Let's stick that in the song somewhere!" Between the two industrial albums that found their way into the bottom two of all time on a list of 1,089, I definitely prefer the number worst album of the whole list, but this one isn't a very distant second.

Knowing what I was getting into with German Industrial, I really liked the album.

I've heard a lot about this band over the years but never listened until today. Heavily industrial, with obvious influences from the Krautrock bands of the '70s, especially NEU! I'm enjoying it

I'd never heard of this before but ended up being pretty impressed. I enjoy this kind of industrial music, musique concrete and find it strangely soothing as it forces you to listen rather than letting your mind wander. One thing that prevents Kollaps getting the full five from me is that many of the tracks end abruptly rather than merging into the next piece. This is a bit of a jarring experience when there are no traditional songs and can interrupt your focus.

Jet'm has got to amongst the more intetesting take on Gainsbour

++: Tanz Debil, Steh auf Berlin, Negativ Nein, Schmerzen Hören (Hören mit Schmerzen), Jet'm, Kollaps, Sehnsucht, Vorm Krieg, Hirnsäge, Abstieg & Zerfall, Helga +: U-Haft-Muzak, Draußen ist Feindlich 9,7/10

This is the soundtrack of the world gone all wrong. I've had the privilege of seeing them live a few times in the last 20 years and it's even more oppressive and agonizing on stage. Beautiful chaos.

It took me some extra time to get back to but it really hit on my second attempt. Hit the same parts of my brain a hyperpop song would

It 1001 you need to HEAR, note LIKE. And I’m glad I heard it. And I agree — Kid Rock’s shitty opus is undeniably worse. Not cause of him, it’s just an awfull work.

I honestly found this pretty compelling. So many unique, abrasive, and industrial sounds here, and I love how they were combined with some "normal" instrumentation. And then, the howling vocals were there to bring it all together. I can definitely hear how this has been a basis for more contemporary noise (and non-noise) music, and what they did here definitely sounds intentional. Obviously not something I'd want to hear all the time, and I definitely have to be in the mood for it, but this was really interesting to listen to. Favorites: Draussen ist Feindlich, Kollaps, Sehnsucht, Hirnsage, Futuristischer Dub

Somehow never listened to this despite being a big fan of noise music and the more abstract corners of industrial music. This rules so much. Can't imagine how it felt throwing this on in 1981. Still feels raw and transgressive. So much of this was shaved down and shaped to build a ton of more successful mainstream acts, but give me the uncut stuff baby. Do I want to listen to this all the time? No. But when I'm feeling a certain way, only stuff like this can scratch the itch.

finally. yeah like a million years ago i was in my nick cave phase and then i got into einstürzende neubauten and fast forward to my post-nick cave phase and you know what? i went to human head records in brooklyn last summer and crate digged and then i saw a fucking first pressing of kollaps in the "rare shit" crate and then i thought "well as i somehow still digs neubauten why dont i buy it and -- cue metal noises and blixa's screaming -- fifty dollars gone. btw the median price of the pressing on discogs is fucking 70 dollars so that means its like such a fucking deal! and during my nick cave phase i wrote this absolutely horrid review for kollaps which is basically me apologizing to blixa for hating this album: "Es tut mir leid, Blixa. Although I love the stuffs that you did together with Nick Cave, i think what you’ve done on this album was somehow pretty terrible. Maybe it’s because I can’t comprehand German, and Nick sings in English. Or maybe its because there’s no clear melodies on this album. I think that there’s also this possibility of me hating on this album because of how those metal pipe noises are combining with your scream, which, although worked very well on songs like “Stagger Lee”, really, REALLY feels horrible when blended with those metal noises. And, I think this album is the best literal “Thrash Metal” album that I’ve ever heard, because it’s just you guys thrashing on metals, and it may be better than Metallica. Sorry for that terrible pun. and at times, this album has this cotrolled kind of chaos that makes me feel not so uncomfortable and sounds ok. And i’d like to say “es tut mir leid” to you again, Blixa. Because for the scoring, i’d like to give this album a 2.5, and change it to a 3.5 and rounds it up to a 4 because of your friendship with Nick, some beautiful moments on the album, me suddenly deciding on repeatedly playing it because of wanna know more about you guys which makes it sounds better. And, If you’re not satisfied with this, I am willing to put myself on the mercy seat and shock myself to death." but honestly i think they would just laugh at it. but seriously kollaps is one of the msot awe inspiring, primal, and hard to listen piece ever, it inflicts emotiong never present and could work miracles from time to time with the unorthotox arrangement. there are some easy listeners but you have to wait till later second half while thats something else to talk about. a sincere 4/5 this time.

Industrial horror - the only thing more terrifying than the despair of clanging machinery is the howl of post-industrial collapse, the looming void, the creeping rust, the screaching noise of iron wrought from itself. I can't watch any more of these German sitcoms.

Ok. I need to think about this. I don’t want to sound like i’m trying to be interesting but there was something about this. It’s just so interesting the way that this was music in every way except how it sounded! For so long i thought hmm but im never listening to this again but now idk! The early tracks a bit too screamy but once we got industrial things started happening.

In 2022, I was sad and lonely in Rome, and in a desperate bid at connection I followed someone’s recommendation to see a video exhibition at some random gallery. I remember it was a public holiday so I got in for free but I was completely perplexed as to why anyone would recommend it, because /nothing/ was getting through to me, so in addition to being sad and lonely, I was now frustrated and a little mad. But then I wandered into the back of the gallery, and there was this massive projection of what could only be described as a German Expressionist film noir video game? And folks I cannot explain why but THAT was the installation that hit me, and this album would have been the perfect accompaniment to it. So yeah wow I loved this? Like all power to ya fellas, I’ve got no idea what’s going on but it made me feel something and that’s enough for some stars! I did NOT like the moment in Abstieg and Zerfall where the voice came through exclusively in my left headphone and made me jump out of my skin thinking that some man had randomly appeared in my apartment but on the whole this was a real experience and honestly, we’ve listened to much worse.

We’re not getting better song names than Kollaps, Schmerzen hören (hearing pain), Negativ Nein, Mikrobendub, Draussen ist feindlich (the outside is fiendish). It wasn’t really like anything I’d normally listen to or plan to again, but what a cool project and this was certainly a collection of sounds I haven’t heard in this way before. I want to lift it out of last place on this site because it’s far from the worst album I’ve heard

I like how sometimes it would lull you into a false send of ‘hey this is a fun beat’ before hitting you with the drills. This was noisy and uncomfortable and fun and I’ll never listen to it again.

Awesome and voting high moves Kid Rock to its correct location as worst album (because it is)

Really enjoyed it. The second track was a standout, all of the vocal performances were really impactful and I loved the literal take on industrial music.

German banging, boom.

Again, how do you even rate something like this. Industrial German Music is the genre I've been least familiar with of everything, so far. Yet, this is a record I'll definitely find myself going back to. The first track is definitely an inspiration for Yeezus. Last track is such a heater.

About a year ago, just one week after having started this project, I gave the infamous Throbbing Gristle my first 1-star rating. I was absolutely appalled by the cacophony they presented. Yet here I am, a year later, honoring a similarly cacophonic album with a pretty good grade. How so? What changed? I must assume that after being subjected to many dozens of forgettable and utterly indistinguishable indie rock bands, I learned to appreciate a project that attempts something that had never been done before, even if the result is not pleasant. I can't deny that it is somewhat interesting that this exists; therefore, I am glad to have listened to it. That can not be said about many other entries in this list.

Inténtalo Apaga este motor en movimiento Mi fábrica de baile No cabe en tu corazón pequeño (#78 dos 1.001 discos que escoitar antes de morrer: 4/5)

A very strange record but entertaining none the less.

I'm gonna be honest. I'm only giving this a 4 out of pettiness. There's no way the average rating of this is lower than Kid Rock. I won't say it's the greatest album ever, but it's way more interesting than so many others that are on this list.

I'm a fan of industrial music, so i knew what i could expect to hear, as I've heard a couple of EN songs, but never a whole album. I'm happy to report that I ended up enjoying this album quite a bit, and even found it very *listenable*! I do think it helps before going in knowing that its going to be a difficult listen (Schmerzen Hören, if you will), but if youre in the mood for this, it can be very enjoyable.

Kooked

There's a theme here, you'll never guess... I first heard Einsturzende Neubation (Collapsing New Buildings , I think?) on the radio courtesy of John Peel. They scared me then and scare me now. Listening to a song like Negativ Nein or Kollaps is a disturbing and unnerving experience, which is worth repeating. Before "industrial" became a thing here they were sounding like.... collapsing buildings burying people alive. If you like a melody and a Stock Aitken and Waterman hook you will either switch it off very quickly or have nightmares. I like that very much about this. Would I want to listen regularly ? Probably not but I totally enjoy where it's coming from.

Favorite track(s): Tanz Debil, Steh auf Berlin, Kollaps, Abstieg & Zerfall What I had hoped this list would've been full of, no wonder so many people hate it.

my ears having been training for this moment. absolutely insane music. super noisy, my ear hurt but i think it sounds cool so it ok. glad i found this now and not while i was in highschool, cuz this deadass probably would've been casual listening for me back then, im not joking idk what was wrong with me

I…loved this? Do I…like noise? I had a similar reaction to the John Zorn record. Expected to hate it, found it oddly refreshing. It’s just nice to hear something you’ve never heard before. Now, of course this is a totally anguished and harrowing listen. It’s kinda like the audio version of making yourself sit through a really fucked-up movie. It’s not pleasant, per se, but it does something novel to your soul. I’d actually keep this on the list, personally. Must-listen #291.

I don’t think it makes sense to rate this one way or another next to Fleetwood Mac. This is clearly an artistic statement. It sounds like a missing link between Krautrock and Industrial music. I must admit I have more interest in the former than the latter. In this case I don’t think it’s useful to ask if it’s good or bad, but rather is it successful. I think it is.

Groupthink is real 1. There is no way that 50% of people think this or any album is unlistenable garbage 2. It's not even unlistenable garbage

7/10 Favourite: Kollaps Least Favourite: Draussen ist feindlich

Viel Lärm, aber ein interessantes Hörerlebnis.

It is impossible for me to read this album as anything less than a complete triumph for music. No matter what Einstürzende Neubaten throw at it – what trickery, insult, mocking or violence then concoct – music survives. It remains there, somehow stronger for its disfigurement. These are songs, songs as worthy of the word as anything by Sinatra and Jobim, or Madonna or Can. They’re equally desperate to tell you something, equally vital. It’s a precarious vitality, though – characterised by spasms of apoplexy and forced moments of grit. It isn’t that tha thrills me most, though. It’s the space they make; space in Einstürzende Neubaten functions like it does in Rothko. The emptiness is the meaning; what thin scaffolding supports the space is their only submission to formalism. Tediously for them perhaps, it’s also our only hope of gaining an equal footing. Quite apart from joking on the polluting, eschatological effluvium of industry, I find an immense joy in this album. Music survives. Fuck, man. It survives.

The sound of a band trying to find their sound. Full disclosure: I love this lot more than most - especially Blixa, but this is a hard listen in the main. And is likely meant to be so. To me, this is the logical place for punk to go at that time. No need even for guitars (in the main). Just get the ideas out there in the most direct way possible, with whatever comes to hand. However, the depth and variety of their work is not yet fully realised here, only Sehnsucht really hinting at what was to come. But it's fun to revisit this very early stage of an outfit that have changed music far more than many perhaps realise. They are - and always will be - to me one of THE benchmarks for industrial - and atmospheric - music then and now.

This album doesn't deserve to be rated so low. Is it everyone's vibe? DEFINITELY not. Not my favorite "industrial" album by a longshot even as a fan of the genre, but I can ABSOLUTELY admire its influence on many artists I love and still would throw it on if the mood strikes. I can't give it five stars, but I at least want to do my part.

This is an avant garde industrial art installation. Interesting textures, harsh sounds, hypnotic thuds, bare vocals, unsettling vibes. I hear the foundations of so much industrial music in this noise. Pretty neat.

I don't think this is EN's best album (I would have to give that honor to Hais der Lüge), but there's no doubt that it's their most influential. This is so unabashedly, purely industrial, it really is a genre defining album. While I understand why a lot of folks don't like the album, it's hard to image the list without it.

On ne se cachera pas qu'il faut être dans le mood pour s'écouter du Einstürzende, sinon ça risque de mener à une psychose ou encore pire. On a fait un tour guidé des bâtiments de la Stasi à Berlin et dans une salle ça parlait de leurs collaborateurs (souvent forcés). Blixa Bargeld n'a pas eu le choix de collaborer sinon la Stasi allait bloquer sa carrière artistique. Il s'est rendu compte plus tard qu'au moins un autre membre du groupe collaborait (de force aussi) aussi avec la Stasi. Donc plusieurs personnes s'entre-espionnaient.

Je trouve qu'ils ont un sens de la mélodie qui se rapproche des Beatles.

7/10

Are you really punk if you don’t like Kollaps? For that matter, do you really like music if you can’t—or you’re unwilling to—wrap your head around this? Foundational.

If you needed proof that music critics are bourgeois dweebs you can find it in Einsturzende Neubauten being considered to be “industrial music” even though the instrumentation here, jackhammers and angle grinders snd circular saws, belongs much more on the demolition site than in the factory. This isn’t the EN album I’d choose if I was to only pick one (and they do absolutely belong on a list like this) but it’s in a way their purist expression of their approach to music or sound or whatever you want to call it. It still sounds harsh, verging sometimes into pure noise, is probably unlistenable to most people, and the forty-something years since its release hasn’t dulled it or made it any less abrasive, which is a lot more than can be said about a lot of boundary-pushing or transgressive music.

Very immersive

Very hard to rate. It's pushing the boundaries of what I'd actually call "Music". Glad I listened though. It's like traveling to the edge of the known world and finding a dragon or some beast. Good to know that it's there. Glad to have heard it. Don't need to go back.

4.5

This is the most fun I can have out of an album without understanding the album at all. It's brilliant.

Good intro to industrial rock and punk.

I really really.enjoyed this and was shocked to see the release date. The fact that so many interesting textures and industrial sounds were created during the early days of integrating computers into music is fascinating

I don't know what everyone is complaining about. This is as musical as some movie scores and I like it.

> Trouser Press described Kollaps as "one of the most shocking visions ever committed to vinyl." Yeah, sounds about right. Here's a story: There's an infamous legend about a performance of controversial composter Steve Reich's minimalist work 'Four Organs'. The 16-minute track, an extension of Reich's boundary-pushing experiments with (then-novel) synthetic music and atonal harmonies, features a quartet of electronic organs accompanied by a single, unyielding maraca. It's a wall of droning noise, slowly building layer-upon-layer of extended notes in an often bewildering and highly unusual arrangement. It was the tail-end of the Swingin' Sixties, and Reich was pushing the boundaries of classical chamber-hall music the same way that bands like The Grateful Dead, The Velvet Underground and Captain Beefheart were doing in the rock/band scene during the same era. Jazz, of course, had been doing so for even longer. So the tale goes, there was one particular 1973 performance of 'Four Organs' at the prestigious New York Carnegie Hall where it went weird. This wasn't the first time the piece had been met with mixed reception, but this show is said to have been particularly contentious. There was "yells for the music to stop, mixed with applause to hasten the end of the piece... one woman walked down the aisle and repeatedly banged her head on the front of the stage, wailing 'Stop, stop, I confess.'" Such is often the fate of the avant-garde. It's really no secret that Kollaps isn't the kind of album you throw on during polite company or at the work Christmas party. It's unapologetically and unabashedly harsh and abrasive. It's the sonic equivalent of banging rusty pots and pans together while running a jackhammer; sometimes it's literally this. It's crude, and unrefined, and so raw you can still hear the cow mooing. The songs often end abruptly, or have inexplicable long stretches of silence. It's intentionally provocative with titles like 'Schiess Euch Ins Blut' (Shit In Your Blood), which sounds like a man trying to pass a kidney stone at a busy construction site. it's nihilistic and angry and all that true-punk chaotic industrial noise that could really only exist like this in its era, anti-commercial and unconcerned with lofty concepts like 'prestige' or 'vision'. So by all accounts, the album achieves with an impressive clarity exactly what it's set out to do. It's just what it's trying to do is weird and scary and ugly. But it's *this* kind of thing that going through this list is made for. What drives a Steve Reich, or a Milton Babbitt, or a Einstürzende Neubauten to do what they do? Maybe these people are the alchemists of music, drawn to boundary-testing like moths to the flame, doomed to failure and yet persisting in spite of it. Kollaps is a difficult album to capture, because the emotion it evokes in me is primarily just... disgust. This is not a common emotion we look to art to achieve, and yet it's there. This album gives that feeling you get when looking at something by H.G. Giger or Cruelty Squad: dread and fear. I remember the emotion far more than the sound of any particular song, which is lacking the usual milestones we use to tether ourselves to reality. It recontextualizes itself as it runs, never letting you rest, and it's a dizzying effect. And in doing so, ironically, it leaves a mental impression far deeper than the easy-to-follow pop music that it was surrounded by. I'm really not trying to be a pretentious contrarian here, because I can tell this is the kind of thing that'll turn most people off. I'm not saying it's some misunderstood masterpiece or anything (I enjoy most modern music as much as anybody else). I do believe, wholeheartedly, that this is not good music and I didn't actually like listening to it. But this thing really grabbed me in a way that disturbed me yet left me with plenty to think about, and I mean that totally sincerely. I like that it tried something profoundly different, even if it mostly failed, and those little glimpses of something genuinely unique were worth the squeeze. Perhaps in the end, Kollaps is musical Surströmming. It won't have me banging my head on the stage, or banging my head up and down, but at least it's willing to do things so interesting that I don't really understand them. And that means it's worth chewing on afterwards, which is more than you can say about most radio music.

Is this thing weird, experimental, disorienting and abrasive? Yes. Is it innovative, shocking, different and artful? Definitely. Is it better than listening to yet another jangly 60s album on this list? Absolutely. I will listen to something as unique as this any day. It also convenient material for when you want to weird someone out with a playlist, or shut down a party.

Kollaps жоп местных слушателей. Без бонусных треков, которые идут с альбомом с 2003-его ре-релиза, это просто пиздец мастеркласс, мать и отец, всего индастриал музона, и это очень и очень явно слышно. Это даже не смешно, насколько крепко Трент Резнор очевидно дрочил на эту музыку, когда писал свои Хейт Машин. То же самое с Джирой. То же самое с Раммштайн. Все которые имеют невъебенные рейтинги. ЛОК ЗЕ ФАК ИН! А КАК ЖЕ УВАЖЕНИЕ К СТАРШИМ? Лучшая песня - Kollaps.

Haven’t really listened much to this band but this was interesting .Experimental for sure but good .

Et av tidenes beste bandnavn. Utvilsomt viktig & innflytelsesrikt, intellektuelt & experimentelt, rått & brutalt, men kunne med fordel hatt litt mer driv til tider. Kollaps og Abstieg & Zerfall er nok høydepunktene, det får litt mer hypnotiserende, motorisk urkraft i seg; kan trekke en ganske tydelig strek derfra til feks. noe på Soundtracks for the Blind. Skiva gikk også opp en karakter da jeg fant ut at streaming-versjonen hadde blitt sydd sammen med en demo av lydexperiementer. Hater når det skjer.

Oh, that's it? THAT'S the infamous Kollaps? Used to be lowest rated album on the list Kollaps? German dudes making random noise by smashing metal plates together Kollaps? That's all there is to it? I mean I enjoyed it, but I'm *almost* tempted to give a low rating just for being underwhelmed. This is far from the most extreme experimental music I've heard, if you guys can't even handle this then I really don't know what to tell you.

I will never listen to this shit again, but as a one-off it was bloody hilarious. I loved it. Those crazy Germans...

Industrial shocker

The list needs more weird and different stuff

Interesting tinny drums with a low thumping rhythmic kick drum. The repetition induces an unnerving and eerie trance. There's a specific type of autistic that enjoys this stuff. It scratches an itch that is hard to describe. The title track on this thing is the stand out. Addictive stringy plucky guitars, a heavy kick drum accompanied by the further stings and stabs of a second guitar. 8/10

Pretty much loved the last 6 tracks (all the dubs). There were one or two tracks that got a little screamy but not enough to justify this album having the worst rating of 1001+ albums on here. C'mon, everyone.

Hey, this wasn't nearly as bad as its position on the global rankings suggested. It's currently below Trout Mask Replica, that Kid Rock album, and Locust Abortion Technician, for crying out loud. Everyone is lucky that I didn't find this back when I was a regular at a goth club where the Friday night DJ had a crush on me because we all would have been getting way industrial and dancing to jackhammer noises. All jokes aside, I found a handful of the tracks difficult to listen to, but the majority were bizarre (interesting, positive) and as far as I could tell, none of them involved pressing a clarinet, oboe, or saxophone to its absolute limits.

This is a fascinating album. This is clearly not everyone's taste, and it's not exactly easy listening, but it's not chaos and all loud noises either. This is not an album I want to listen to often (or ever again), but I'm glad I did listen through it before I die.

It's not too bad - I actually quite like the title track, "Sado-Masodub", and "Spionagedub". Rhythm dominant music is quite fun, as it feels like getting pushed around aurally. Also, anything is better than music that feels like a sneeze which never arrives!

I really liked this one. A little anxiety inducing, but not a bad one to listen to when you're doing work or walking.

Super interessant

weird and experimental

Definitely an album to be experienced once. I wouldn’t say I didn’t like this album. It never bored me too much and even the more ambient songs kept me interested, like I was stepping into some dystopian fascist industrial city. I can see that its value mostly lies in its influence on other bands but, saying that, I still liked some of the tracks on Kollaps. A couple times there were bits that kinda sounded like an actual song! Overall I think it’s something you listen to once but to say it’s bad is to completely disregard it as a mistake. It was all made intentionally and it succeeded in creating a certain mood, which I count as a good album. Now if you don’t mind I have some NIN to listen to and clean my audio-palette

German Stomp. Wasn't really sure what to expect but as a band nerd I really appreciate the way they played with rhythm.

Doesn't make for easy listening but does not mean it shouldn't be listened to. I've listened to Lou Reeds metal music which is much more challenging. Yes, there are parts of this that involve workshop/drilling noises but there is a discernable melody and can see how this can influence further musical innovations. I must admit found this more enjoyable than limp bizkit.

It truly makes me so upset to think of this being the lowest rated album on here. To me this sounds like a group of weirdos doing something interesting, and that alone clears so many less worthwhile albums I’ve come across so far. This is awesome! It’s demented and strange. Sometimes it sounds like NIN in a good way. Sometimes buddy is yellin out German words and you’re like “I don’t speak German” and then he yells “CHINGGIS KHAN!” and you’re like “I know that one!” It’s fun and wild! Anyone who contributed, or contributes, to this being the lowest album on the list is a huge baby.

Blew my mind then; rattles my brain today.

Despite the reviews, I found this surprisingly musical. I’m not going to listen to it often but it’s pretty interesting.

It’s almost kismet that the generator gave me this album right after I heard The Downward Spiral for the first time. Not even realizing that industrial punk or the genre itself would be my cup of tea and this album definitely fortifies it for me. The textures of all the instruments, it was so interesting to listen to. Definitely a really weird album, yet I couldn’t stop. I was so intrigued and curious about it all. Released in 1981 in West Berlin 🇩🇪, this album emerged during a time when the city — and the country — were split by the Cold War and the Berlin Wall. The Berlin Wall was a symbol of political division but it also represented the cultural tension that existed within the city. This tension can be heard through the soundscapes in this album: harsh, alienated, industrial and aggressively anti-establishment. I also learned that the album name itself translates to “Collapsing New Buildings” which made it all the more meaningful in the listening experience. Made it feel like a rebellion against structure itself. Which also made me realize that not long after this album was created, the Berlin Wall was “kollapsed” in form of a riot against the communist divide in 1989. Also learning that the artists rejected many traditional instruments and used power tools, scrap metal and found objects to create these sounds. It makes for something anti-music, and more something like sound-as-art. Truly felt like rather than walking through an art gallery of images you were confronted by these abrasive, deconstructed, mechanized sounds instead. This album seemed like it was doing more than just textural experimentation. Though I don’t speak German, and couldn’t understand the lyrics, somehow the vocals gave the anger, angst, aggression that was needed to tie these soundscapes together. The amount of creative instrumentation used for this album reminds me why I was so enthralled by NIN’s The Downward Spiral. I feel that album was able to create a story or narrative surrounding the industrial texture, but Kollaps felt like you were going even further into the abyss without a guide. It’s chaotic, jagged, and uncomfortable to sit with in some moments. I respect the hell out of it for kicking the door open on industrial music. Rating: 3.5 – Growing On Me Standout Tracks: “U-Haft-Muzak”, “Abstieg and Zerfall”, “Futuristicher Dub”, “Sado-Masodub”, “Liebesdub”, “Spionagedub”, “Mikrobendub”, “Gastarbeiterdub”, “Rivieradub”, “Lünebest”

Fuck the haters

tja, hvað skal segja? mjög hrátt iðnaðarrokk, með verkfærum og ég veit ekki hverju. en mér fannst samt gaman að þessu. veit ekki hvort ég leggi í fleiri umferðir, en ...

This is actually pretty good. It’s not for everyone but its bracing like a gale force Arctic wind, and you will definitely know you’re alive after listening to it. It’s hard and raw, and noisy and an assault on your ear drums, but I quite like these experimental kinds of albums that push boundaries and make you question everything you ever thought you knew about music and what it could be. More please.

i remember being absolutely blown away the first time i heard this album. lovely stuff

Very good

a refreshing, invigorating, difficult listen, designed to generate the response "what the HELL is this? - is it even MUSIC?" I would love it if the list had more albums like this, that challenge preconceptions, rather than so many comfortable, homogenised, mainstream pop / rock / indie / whatever.

Tää on kyllä kokeellista ja ärhäkkää kolistelua! Näin livenä pari vuotta sitten, eikä ollut yhtään näin outo. 4/5

Not as bad as that Birthday Party or Kid Rock Album

Sick album, early techno industrial stuff.

Been busy the past couple of days, but this is a good palate cleanser after the election. Solid, angry shit. B

It seems that this album is generally unloved by others going through the 1001 albums project. That led to me going into this with a negative outlook, but I ended up really enjoying it. It likely helps that I really enjoy other industrial music such as Nine Inch Nails, and I think it would be a fair speculation to say that music like that produced in Kollaps inspired that found in The Downward Spiral. It definitely isn’t for everyone, and I totally understand that there are a fair amount that don’t like this, but I found myself wanting more once it ended.

A heady mix of war and angst

Industrial the truest sense. Hard hitting, noisy, construction music. Especially liked Schmerzen Horen.

What the fuck (complimentary)

Experimental, industrial, repetitive, ..., interesting! I remember listening to much more accessible work from them in the past, but this was still worth a few listens.

Ah man I lost the text I had in here before but basically I was not sure what to expect. Turns out these guys pioneered the whole industrial music genre. I like the uneasy feeling it evoked, almost sinister. I need to find a better way to describe that. I liked the german.

Heftiges Brett und harte Kost. Völlig zurecht auf dieser Liste. Taylor Swift kann einpacken.

Influences of Kraftwerk are pervasive throughout

I had no clue what this was so I was excited to listen to it this morning. I was NOT disappointed! Loved this!

4/5. Another experimental album right after another, but hey I guess that's randomly decided. I think I resonated with this one more than I expected to despite it being in a language I do not understand. It is much more abrasive than other experimental albums I've heard and the use of makeshift instruments is an interesting addition that only adds to the music, not take away. The screaming vocals creates a scary and dangerous atmosphere like the final speech of a world leader before the bombs drop. Best Song: Steh auf Berlin, Negativ Nein, Kollaps

Get past the weirdness and the shouting and there are some decent tracks here. The second half is another album added for the 2002 re-release, it's less experimental, but also less interesting IMO. 3/5 for the re-release, 4/5 for the original album. Favourite tracks: Kollaps, Abstieg and Zerfall

Day 29 - June 30th Art. It's abrasive, chilling, and uncomfortable, and it does it perfectly. 4/5

Boiled the piss of old white guitar shaggers, so five stars for that alone. Not bad, either.

This feels more like an assault than a listening experience to be enjoyed and picked over. And you know what? As a piece of art to disturb and disrupt, to undermine the very foundations of rock music, it is absolutely vital. I've never heard anything like it. To be honest I don't think I want to hear anything like it ever again. However, as a bracing series of aural confrontations I can't fault it. There's even a splash of deadpan humour here, with a laughably wonky cover ('Jet'M') stuck right in the middle of the album. How to rate this? It's ambitious, different, provocative and sui generis. Five stars on that basis, minus one for being borderline unlistenable.

Pretty dang neat and cool and avant garde for the time 👍

So interesting to hear once! Industrial as fuck

Lowest rated album on this website. And I kinda get it, but I had fun with it. Pretty cool most of the time, and the less good moments were kinda funny in a youtube poop way. So I was entertained. 3.5/5

Anyone can make a guitar sound like music but to make music out of what I can only assume is someone crinkling a ball of tin foil in front of an oscillating fan while someone else beats on a street sign with two group handles is truly art. This album reminds me of tool, nine inch nails, and iThe prodigy and it is fairly enjoyable listen to what is clearly just noise

I often grade stuff on here based on how frequently I might come back to it, but that doesn't fit here at all. Lacks some of the sharp grooves of some of their other records, but more than makes up for it in industrial atmosphere. More wacky shit in the canon plz. Fave track: Kollaps

Was about as enjoyable as as group of people shouting in German while banging various metal things together could be. My first impression was that it was going to be difficult listening, but it slowly grew on me, peaked with the cover of Je t'aime and the great Kollaps, then faded back to more subdued sounds with no vocals that gradually faded away until the album ended. I felt a lot of different musical vibes here, from The Fall, Bauhaus, NiN, even some electronica. Using my rating system, I'm interested enough to listen to this again, so it gets four stars from me.

No idea what they saying but it was cool

Wow!, This fully deserves to be on the list. What an experience. One I'll probably not repeat but worth it once. Seriously hard sounds but seriously impressive commitment to that sound. Brutal and possibly beautiful.

Don’t think this deserves the absolute hate it gets. It’s for sure a challenging listen, but it’s at least something different and provokes a reaction. Do much of this list has already been of the “oh god, more of this?” type that something genuinely different really stands out.

Some angry German guy yearling stuff on an active construction site Overall decently enjoyable apart from the high pitched screeching

Without this band, bands like Nine Inch Nails, Rammstein, Ministry & a whole lot of others wouldn't exist. EN are Industrial pioneers. There's a YouTube video of them in an industrial complex literally banging on pipes & discarded metal. This album isn't for everyone, but I appreciate their abrasiveness & fuck you attitude. A big shout out to EN & Kraftwerk for birthing some of my all-time favorite music.

I love finding new (to me) artists like this. I had no idea what I was about to hear, but found it surprisingly engaging. I would definitely listen again, and have already looked for more of their work.

This is one of the most important bands to my teenage years. These guys directly inspired every band I loved from 89-95. They created industrial music and were influential in house music and edm. That being said its not something i would put on at a party. I haven't personally listened to one of their records since 1995, but still rightly deserve a place on this list.

Unpopular opinion on this site, but I really enjoyed this album. It is abrasive, confrontational, and experimental. It feels like abstracted industrial music and for whatever reason that appeals to me. The shout sung lyrics along with the noises create a claustrophobic and uneasy feeling which feels very appropriate for this album.

This is to NiN what Chuck Berry was to the Beatles. Industrial isn't always my thing, but I can appreciate this for what it is.

I usually listen to my album of the day early in the morning before the rest of the family awake and whilst I potter around. That wasn't possible with Einstürzende Neubauten. This album completely challenges perceptions of what music is and what makes music and what music can be. Whilst it is generally unlistenable, there are aspects and sequences and elements which are and despite few instruments and lots of noise from found objects. Is this music or just sound? Is our brain making patterns in order to make sense of it? Are we trying to understand this in a coherent way? Why are some elements melodic and others just freaking smashing plates? Informing and influencing other styles, such as hardcore, industrial and even (surely?) techno, there is no doubt this is an important and significant album and way more meritorious of its spot as an album you must listen to before you die than countless others on the list.

I was oddly excited when I saw that I got a German experimental album today. Say what you will about German music, but they are not afraid to take chances when trying to make cool music. This album is certainly abrasive, which makes it hard to give it a very positive review, but at the same time, it's easy to see how this album would have been a hugely influential for artists like Trent Reznor and Ministry. Despite the fact that it is intentionally hard to listen to, it has that special something that sets good experimental music apart from dumb noise 4/5, though this might be the least pleasant 4 I've given out so far

Aware of them (due to Blixa being in the Bad Seeds), seen the t-shirt, never listened to them much before. I dug it, experimental in the best sense. Another album that justifies this project.

"Kollaps" is the first official album by German experimental group Einstürzende Neubauten. Industrial and experimental are the genres. I'll say. The music is a mixture of rough punk tunes and industrial noises from music machines, electronics and metal plates. Lots of metal on metal in this one. Einstürzende Neubauten members included Blixa Bargeld (lead vocals, guitar, noises), N.U. Unruh (percussion, vocals) and F.M. Einheit (percussion, vocals). "Tanz Debil" (Debility Dance) has a buzzsaw in the background. Pounding metal and percussion. Blixa yelling in the background. Wow, this is a harrowing sound. "Negativ Nein" (Negative No) starts out with someone walking in water. Strings plucking. Screaming. Exasperation. Horrifying. "Schmerzen Hören (Hören mit Schmerzen)" (Hearing Pain (Listen with Pain)) has echoing metal sounds. Lots of guitar feedback. Blixa sounds like he's dying. "Kollaps" (Collapse) has a prancing, eerie guitar, sort of Velvet Underground sounding. The pounding is repetitive. Screaming, dramatic, the vocals are very similar to Suicide. "Bitte, Bitte, Bitte" ends the song. Ah, Bitte equals please. "Abstieg & Zerfall" (Descent & Decay) adds a sound like metal getting cut by a wheel blade. There's pounding on tin cans, motor sounds and a guitar sounding like it's been playing backwards. This was quite an experience. I never knew so many sounds could be made by pounding metal on metal. This album is stark, harsh, horrifying and at the same time intriguing, creative and avant garde. There is a connection between the starkness of Suicide through this album to what would become the industrial music of Ministry and Nine Inch Nails. I'm only going to recommend this to anyone who is both Suicide and Ministry fans. And, that would be me too.

All the people giving this a low score is unfortunate. This is classic stuff! Industrial music in it’s purest form. Maybe one of their later albums could’ve been included for easier digestability, but that’s not the case.

Det här är nog dope... de gör mycket med ganska lite. Gnarly sound

It's spelled collapse

Was het fijn om aan te horen? Nee. Heb ik het naar mijn zin gehad? Zeker weten!

It's pots and pans and plenty of challenge-via-being-just-bad. These Germans are not so much anti-Kraftwerk and not-Kraftwerk, the early material shows; The dance they demand is different but also compelling. Baffling in outness.

KOLLAPS I always forget I like industrial, because I will say things like, "This music is just monotonous yelling and jarring noises; I don't like it." But then I do like it when it's dark+spooky yelling and machine noises. I thought it was very cool. Though I listened to the whole 56-minute album twice, I can't pick a favourite because it was all German singing/talking and dark, driving music with some whirring and clanking. There were some songs with no vocals or very limited vocals that I liked.

By turns disturbing, charming, thought-provoking and both musical and non-musical - often simultaneously. Ground-breaking at the time and still relevant.

It's definitely madness, but there's a method to the madness. I don't want to listen to it again, but it was interesting. I respect it.

Review - very good industrial music. I don't mind this sort of thing but when is the right time and place to listen to it? Tried listening while out walking and that doesn't work. Carn just pop it on at home if you're not by yourself because obviously no one else is going to be in the mood to have this sort of thing just put on without their wanting it. Hard to find yourself in the right headspace to listen to this sort of thing. But if you do, this is a better example of the genre. Score - 6.5/10 Need to listen? YES

This was, admittedly, not great. However, I did think it was good for what it was. One of the few that made me check the reviews first in disbelief it made it, but I'd say it earns its spot here. Moreso than Kid Rock that's for sure.

This was interesting. Not terrible but certainly not my cup of tea. Wasn’t a bad one time listen though.

J'étais un peu distraite mais ça avait l'air grave traînant et chéper

Call me crazy but I actually enjoyed this. only reason it’s not a 4 is cause it’s not likely I’ll be listening to it super often I mess with the eeriness

Gear: ZMF Auteur Classic LTD Shedua Artwork: 👁️👤✏️ Production: 💩😖💌 Music: 🏭🧷🧠 Rating: 💥💥💥(💥)/5

Giving it a 3 because its genuinely new and different even though it is....terrifying lol

Not at all my thing, but I get why people think they're cool.

Love the title track but would rather listen to their later stuff.

Intrestin out there rythmic 3.5

This is some of what I expected to hear when listening to this project. A 1980s German "band" making random noises.

I feel like this album takes "industrial metal" to a new level, in that they are literally banging industrail machinary against scrap metal. Still, I think there is intention to the noise, I don't think it is just random noise like many other reviewers suggest. It is ambitious if nothing else!

Eeeehhhhhh

Not sure how I’d rate this one as it was interesting but I wouldn’t listen to it often.

So I don’t even need to look to know this has to be one of the lowest rated albums on this site. It made my dogs leave the room. I can say it’s good my 14 year old self was unaware of this album because there is a high likelihood that I would have put it on repeat to Guantanamo my parents. My current self is proud I made it all the way through. Yeah. An experience for sure. Now comes the hard part. I think I have to go 3. I mean I want to go 4. But it’s really pretty much unlistenable. I dig experimentation, but how did this ever make it to actual production? Anyway, cool on the crazy Germans making crazy sounds and actually getting someone to distribute it as a record that gets a REISSUE! That alone deserves a 3. Boolean: yes, heel yeah glad I went through that before I die, hope I never have to again!

Not my type of music, cool tho

Only in cold war era Germany. To be fair, if I was listening to this in the grimy, paranoia laced streets of East or West Berlin, I would give this a 5 for impeccable vibes alone. I also appreciate this more than the 23rd late 60s Beatles rip off album.

loud and well just lound

Hear me out on this one… is this something I would be listening to every day? Hell no. But the sonic experimentation with noises and metal are really interesting and the repetition can be somewhat hypnotic. Most of these aren’t songs, but I’m really glad I listened. Favorites were U-Haft-Muzak, Kollaps, and Spionagedub.