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Radiohead get all the props for their seemingly revolutionary new marketing plan. In a nutshell, it's "let the fans pay what they will, we are artists and artists (especially filthy rich artists) have no desire to observe simple monetary concerns." While Radiohead's down-with-capitalism approach is undeniably shrewd, Einsturzende Neubauten has already done them one better.

Though EN's last album, 2004's Perpetuum Mobile, was a typical release promoted and distributed by a conventional record label, all ten albums (!) since have been available only from EN's website, http://www.neubauten.org/. Not only are EN's albums entirely listener supported and funded, the band repay that support with beautiful, exquisitely designed CD packages that are clearly unique, one of a kind collector's items. Fans can interact with EN via the website as well, and are often privy to recording sessions and even the occasional musical decision. Talk about a revolution!

EN's Alles Wieder Offen ("All Open Again") is by all accounts a more relaxed and even mellow affair than we have come to expect from the Berlin based quintet whose name literally means "Collapsing New Buildings." Cryptic, ominous found sounds still surface ("Von Wegen," "Weil Weil Weil"), as do industrialist wormhole worthy grooves ("Let's Do It A Dada"). But the band sound most happy these days when vocalizing over a virtual cup of steaming java ("Nagorney Karabach") or performing heated spoken word monosyllables against foreboding piano loops ("Die Wallen"). Throw in that abrupt sounding German language delivery in Brother Theodore worthy rants and you have the grandest caramelized spew this side of Leonard Cohen's apocalyptic "The Future."

"Weil Weil Weil" pumps the musical fists of a rowdy stadium punters ready to explode, complete with what sounds like sabers banging against trashcan lids. Modern electronica gets a nod with the pulsing "Ich Hatte Ein Wort." Vocalist Blixa Bargeld is particularly conversational here, sounding as if he's telling a fatherly tale, while in reality he is probably describing political assassination or totalitarian corporate control. The title track is similarly electronic and hypnotic, whimsical sound bubbles and gurgles spinning a glowing web of percussive play against Bargeld's serene vocal recitation.

But as it's Friday and we need a moment of calm to fully prepare for the rigors of the weekend ahead, only one track from Alles Wieder Offen will really do as an MP3. The nine minute "Unvollstandigkeit" is a barrage of beauty and bombast, ferocious sonic attack and simple rhythmic acuity, an elastic display that has all the power of an avant garde theater performance. The song moves quietly at first, Bargeld enunciating over soothing acoustic drums, repetitive bass and birdlike keyboards. Slowly, the volume rises, the drums pound harder and what sounds like a turbine engine revs thru the mix.  Then the volume level decreases, and Bargeld chants a playful mantra. The simple hypnotic drums and bass return....it's like sleeping on a bed of steel balloons. Suddenly, Bargeld turns up the angst factor, percussionist N.U. Unruh clangs furiously, and the jet engine ramps up even louder than before. "Unvollstandigkeit" is a tornado in sound with the eye of a hurricane.

Where's the Christian?: Around the turn of the last century, Rae & Christian were holy lights in the electronic music firmament. Now up to two records and counting, Mark Rae returns with Into The Depths. Familiar and funky, with nods to rap, surreal techno and the kind of shimmering sample melds that marked Rae & Christian's best work, Into The Depths doesn't disappoint. Cool down, towel off, chill out.

"Gato"