Einstürzende Neubauten
Zeichnungen des Patienten O.T

THE REVIEW

In any case, with inexplicable and jovial manner, like a child discovering their body in an inquisitive and exciting way, I remain majestically yet childishly fascinated by the beauty of this Opera.

Following the advice of many, I should exalt almost bordering on paganism albums like "Halber Mensch" (1985), talking about its structures, its ability to give the song form a passable tone in the most cocaine-sweaty disco-clubs, getting excited about it repeatedly.

This is not so.

But my opinion is skewed, as the denial I refer to is torn from me, like a decaying tooth headed for putrefaction. Diverted, with concentric sleights of hand, worthy of the best “pas-sens” that only leaden and cold oxidized sounds, like those subjected to the object, can be capable of materializing into fragments. Real and true, like tin shards deformed by the experimental thermal shock they are subjected to.

It's not about the money.
Nor easy success or any experimental-recommended opportunism.

I struggle to say it, because today I’d equate it with blasphemy, but I boldly pronounce it with pride: art. That’s what. Like Dadaism, as much as Expressionism or the most symbolic and virulent Decadentism ever conceived, "Zeichnungen des Patienten O. T" knows how to explode unlike any other, with apocalypses of the deepest tribalism, atonal, and in a way never mirrored before so straightforwardly, existentially and realistically. The ease with which it is possible to read, not listen to, the sounds that plaster every shade of the fifteen tracks called into question in unison is singular, and equally disarming. Singular, because equally singular are the minimalisms with which the percussions are proposed and laid bare like a ritual: any sort of refusal is not forgiven, from rigid plastic pipes to PVC, clear signs of an explanatory necessity to make resonate what can no longer be in a society interpreted like never before, prophetically and extremely, to the point of bordering the most incalculable reflective nihilism.

Secondly disarming, for the immediacy with which it is possible to glimpse in it post-apocalyptic landscapes blurred by what once wanted and had to mean survival. A wrench, a power generator, a barrel of oil. Elements that lose their sense in the present if understood as power to be applied to further work and/or office force. Instruments that, however, assume a completely different significance if conceived in function of what the modern world indirectly induces us to prophesize. Here in Einstürzende Neubauten, one catches what was never considered before, that grotesque manner worthy of an extreme and depraved reading of Brecht, for which reject-elements that consumerism soon declines to waste, become the primary tool, appropriate to strike with shamanic disposition the limbs of the corrupt and sick soul, fruit of its own discard. Not a sentence, nor a condemnation. Simply an indiscriminate and resigned accompaniment. The ferrying of the human being, cancerous from consumption, towards the chaos that animated the planet ten thousand years ago. A return to primitivism, as much social as mental. A unilateral abandonment towards the randomness of the senses, which, without indoctrination, navigate freely in rivers polluted by time and industrial oblivion, and therefore have become harsher. A journey towards a future that allows no differentiation whatsoever, noticeable in "Armenia" as in "Zeichnungen des Patienten O. T". The first animated by visionary sensations, the second dotted with irreversible glass shards. Screams full of purplish red capable of staining concrete and asbestos.

In conclusion, it is necessary to express the grandeur and impartiality with which every sound is recited. Absurd theatricality, which is what makes this artistic ensemble unique in its genre, but at the same time capable of influencing, precisely with this album, generations and generations of bands that will shape the last twenty years of contemporary music. Human beings even before artists or intellectuals. Able to clearly affirm what the mind finds difficult to materialize for taboo, what with difficulty enters scratching into the channels of thought.

From doubt, into nightmare.