When the band Einstürzende Neubauten was being founded in 1980 there were hardly any others that could have been compared to them. Instead of playing conventional instruments, the band out of short- age of money used tools and other objects of daily use to create atonal industrial collages predicting a near downfall (“Kollaps”). Blixa Bargeld rejected comparisons to the British oil barrel beating epigones of Test Department or SPK and despite familiarities, Neubauten managed to escape pure industrial clichés very fast by their individuality, sophistication and above all, their lyrical substance. Even without blaring metal, on albums like ‘Die Zeichnungen des Patienten O.T.’ and ‘5 auf der nach oben offenen Richterskala’ Neubauten were able to produce gloomy, filgrane and spheric soundscapes (“Armenia”, “Kein Bestandteil sein”. Blixa Bargeld’s fascination for the ancient German language became unmistakeably clear in their 1989 album ‘Haus der Lüge’ which is the nucleus of this Rockpalast concert to be experienced amongst others in the tune “Ein Stuhl in der Hölle”, lyrics that Bargeld had found in a book with old kitchen songs. The Rockpalast concert at the Philipshalle in Düsseldorf combines in a unique and compact way all the songs that were relevant and had shaped the band’s style (according to the criteria formulated by Bar- geld) to this date.