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Boomkat Product Review:
*Vinyl Reissue* Long before Radiohead caused a brouhaha over In Rainbows, Einsturzende Neubauten were finding alternate ways of getting music to their fanbase. This album was released without a record label attached to the project, financed by subscribers to the band's website, who even went so far as to participate in the music themselves, forming a choir for one of the new tracks. As an opening piece, 'Die Wellen' functions as an incremental escalation of tension, beginning with Bargeld's thorny vocal and an urgent, staccato piano sequence. Over the ensuing three and a half minutes the volume grows, accompanied by a threatening discord and an eleventh-hour string enemble intervention, only for the drama to instantly dissipate upon reaching the uncharacteristically tranquil 'Nagorny Karabach', a track that has more in common with the lounge pop of Moon Safari-era Air than it does with the sheet metal pummelling of Einsturzende Neubauten's past. Fortunately, all that business returns in time for 'Weil Weil Weil', a cocktail of electronics and clanging industrial percussion. Alles Wieder Offen proves to be an album of contrasts: for every moment of scrapheap punk rock (e.g 'Let's Do It A Dada') you get a contrapuntally melancholy, semi-orchestral piece like 'Ich Warte'. There are however, a couple of instances that manage to resolve this apparent polarisation: 'Susej' is as concerned with sweeping violins as it is with pulsating, raw electricity. Better yet, 'Unvollstandigkeit' within its nine minutes manages to alternate between sounding sedate - even stately - and laying down full-on electroacoustic bedlam, at times coming across like some sort of horrible shelf-stacking accident at B&Q mixed with field recordings from an abattoir.