The legendary Berlin band Einstürzende Neubauten have returned after more than 12 years with their long-awaited new studio album "Alles In Allem" It contains ten songs that explore the German capital city that has been home to the band for the past four decades. "Alles In Allem" is the first proper Einstürzende Neubauten album following "The Jewells" in 2008, however, the band did release the World War I concept album "Lament" in 2014.

The official promotion synopsis for the album read “An extremely cynical reflection of the state of the capital, which has become a song, did not make it onto the album, leaving a hole around which there were far more differentiated debates with Berlin. So Blixa Bargeld wanders through memories, through dreams, assembles fragments – and yet it is always about the presence of this intangible city”.

Their 40th anniversary album begins with the first single, the moody and jazzy percussive "Ten Grand Goldie". A typical Neubauten song, with its characteristic custom-made percussive sounds with various materials. The second track "Am Landwehrkanal" has a more traditional feel, like a song from older days, with its singalong style and accordion. Things get more ‘metallic’ with "Möbliertes Lied", although the tempo is kept low. On top of a metallic percussion and Blixa’s spoken word a beautiful keyboard brings to it a great atmosphere. The haunting "Zivilisatorisches Missgeschick" follows, a unique track filled with both quiet passages and screaming siren outbursts. "Taschen" that follows is a beautiful low-key piece with melancholy strings. In the same vein we have "Seven Screws".

The second single, the title track "Alles In Allem" meaning All In All, was released during the Corona-virus pandemic quarantine. A stylish and cinematically moody piece, is surely a standout, featuring crooning surreal lyrics with Blixa’s baritone voice. The album continues in a quite tone with "Grazer Damm" and "Wedding" that slightly climaxes with the repeatedly singing of the of the song’s name, a district of the city of Berlin. The album closes with "Tempelhof", another a district of Berlin and name of its old airport. Again, we have a gentle piece of music, almost cinematic, with more strings, harps and Blixa’s almost whispering vocals.

The unique sound and textual landscapes of the band reveal the timelessness that members Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit and Rudolph Moser have continuously maintained. Their ongoing sound research, combining edgy sound with sophisticated poetry, through experimental approaches to songwriting, has provided us with yet another great piece of work, mature as the band itself has matured gracefully.

Review by Nick Drivas