Artistic Career
In 1980, he founded the music group Einstürzende Neubauten, which has released numerous albums and singles, performed all over the world, and still exists to this day. His stage name comes from Blixa, a German brand of blue felt pen, and Bargeld, German for cash. Bargeld also refers to German Dada artist Johannes Theodor Baargeld.
From 1983 to 2003, Blixa Bargeld was a long-time guitarist and backing vocalist in Nick Cave and the Bad Seeds. Bargeld also sang several "co-lead" vocals with Cave, such as on "The Carny" and "The Weeping Song." Nick Cave first saw Bargeld performing with Einstürzende Neubauten on TV while The Birthday Party (Cave's band at the time) were touring in Amsterdam. He described the music as "mournful", Bargeld as looking "destroyed", and his screams as "a sound you would expect to hear from strangled cats or dying children."
He is credited with playing guitar on the Gun Club song, "Yellow Eyes", on their 1987 album Mother Juno. He also played on the album Novice by Alain Bashung in 1989.
Since the middle of the 90s Bargeld has appeared live with his solo Rede/Speech Performances. During these performances, usually supported by Neubauten's sound engineer Boris Wilsdorf, he works with microphones, sound effects, overdubbing with the help of sampler loops, and speaks English or German. The performed pieces include such curiosities as a vocal creation of the DNA of an angel and a parody of a techno song.
In 2007 he started a collaborative project with Alva Noto called ANBB, an abbreviation of Noto's and Bargeld's initials. An EP, Ret Marut Handshake was released on 26 June 2010, followed later that year by a full-length album, "Mimikry".
Dr Jennifer Shryane in her book Blixa Bargeld and Einstürzende Neubauten: German Experimental Music. Evading do-re-mi. (Ashgate, 2011) explores how the themes and threads of Bargeld’s work with Neubauten find even greater variation and experimentation in his performance work outside of the band. For example, the range extends from his surreal, electronic Dadaist-cabaret Rede and collaborations with Alva Noto, to his expert direction of Coetzee’s Warten auf die Barbaren for the Salzburg Festival in 2005 where he employed multi-layered symbolism through an ice-white setting and an interplay of voices, screams and noise.
Jennifer Shryane’s book particularly examines his vocal strategies and his trademark scream (describing the scream in dance terms as the endless pirouette or unanticipated giant leap) and the labyrinthine concerns of his texts – all through Artaudian performance theory (The Theatre and its Double, 1938). She also stresses Bargeld’s passionate stance on the socializing aspects of music (a la John Cage) citing his comment on Grundstück that ‘it’s the social aspects which are important for me’.
Read more about this topic: Blixa Bargeld
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