By Christian Schaeffer
By Daniel Hill
By Joseph Hess
By Joseph Hess
By Allison Babka
By Gina Tron
By Kelsey McClure
By Roy Kasten
In four short years (1971-75), Neu! released three eponymous albums (Neu!, Neu! 2 and Neu! '75), all of which managed to distill the uniquely German aesthetic of Krautrock into its purest form. Unlike Can, they never tried to blend in R&B or rock & roll, and though core Neu! members Klaus Dinger and Michael Rother got their start in Kraftwerk, they eschewed the poppy, proto-new-wave sound typifying that group's late-era recordings. Instead, Neu! applied the polyrhythmic, electronically enhanced Krautrock method, wherein different layers of insistent beats meld, becoming hypnotic and driving through repetition, much like today's trance. Many early-'70s Krautrock practitioners studied under serialist composer Karlheinz Stockhausen, but they were also listening to Anglo-American rock music at the time; Krautrock fed off the tension between modern art and popular culture, between movement and stasis.
Fittingly, Neu!'s music originates in a more literal tension. Dinger and Rother left Kraftwerk in 1971 and recorded Neu! in four days with producer Conrad Plank (who also worked with Kraftwerk and Can). Neu! is most notable as a primer on Dinger and Rother's musical ideas. About half the album consists of ambient soundscapes that predate Brian Eno's by about five years, such as "Sonderangebot," which sounds as if it were recorded in a tunnel. The other half comprises beat-driven songs of the type Neu! is best known for. "Hallogallo" is an autobahn of sound, with rhythms speeding by into the distance and fragments of melodies along the shoulder. It's a sonic template that they would revisit again and again, on Neu! 2's "Für Immer" (which sounds like a Sonic Youth dance track, if such a thing were ever to exist) and on Neu! '75's opener, "Isi," possibly the group's best song and arguably the impetus behind Stereolab's entire catalog. The funkiest track on Neu! is "Negativland," on which a deep, dramatic beat seems to gain speed until it bursts. Like much of Neu!'s work, it's not just about motion but about acceleration -- how motion itself changes.
This idea would come to fruition on Neu! 2, when financial difficulties forced Neu! to invent a new technique. After recording only two songs in the studio, Neu! ran out of money and opted to create faster and slower versions of each song to flesh out the album. In short, Neu! 2 is the first remix album. Don't expect DJ Shadow, though. Whereas "Neuschnee" stands as a beautiful, austere song, the frenetically speeded-up "Neuschnee 78" sounds like the Chipmunks. On the other hand, when "Super" is slowed to 16 rpm, it is completely transformed: A bleaker mood sets in, every drumbeat seems momentous and the song clangs like the best work of Einstürzende Neubaten. Neu! proves a fact often ignored by DJs and producers: Faster isn't necessarily better.
Up to this point, Neu!'s music blurred the line between rock and dance. Rother and Dinger may have played guitar and drums, but they changed the sounds and looped them until the music sounded as if it were the product of a man-machine union. After Neu! 2, their partnership dissolved briefly. Rother joined two members of the Düsseldorf collective Cluster (and, later, Brian Eno) to form Harmonia, a slightly more ambient affair. When he rejoined Dinger for Neu! '75, their reunion effort, neither's heart seemed to be in it. The result is an album that sounds like a pair of solo EPs and jumps between styles without really making connections between them. Although Rother's druggy komische (space rock) seems even more ethereal here and Dinger has sharpened his driving polyrhythms to the point of sounding dangerous, they rarely complement each other. Still, Dinger had one masterstroke up his sleeve. His "Hero" and "After Eight" are punk songs as nihilistic as those of the Stooges and the Sex Pistols, but they glide down their road to nowhere by way of an efficient, lock-groove rhythm -- even the lyrics to "Hero" are only a few lines looped to infinity. These songs marked the first attempts to combine punk aggression with electronic energy, and it's amazing how little the formula has advanced since then. Ministry, the Prodigy and fellow Germans Atari Teenage Riot all fail to improve on the streamlined menace of these songs.