In the early eighties Neubauten played a couple of concerts in Denmark, in "Saltlageret" and "Ungdomshuset".
The Danish journalist Henrik List writes about "Ungdomshuset":
"I remember the concerts in the clammy, moisty hall with the ramshackle balconies, which Einstürzende Neubauten during one of them, was about to demolish with "pneumatic tools" - in Hash fog banks and crackling haloes of distorted noise and black holes of sweet destruction."

A decade was to past before they showed up here again.
In '95 Neubauten appeared in the dance-performance "Katarsis" at the Copenhagen theatre "Kanonhallen". Though they only contributed with 4 pieces, they managed to take over the shows completely and turn them into Neubauten-concerts. "Katarsis" was arranged by the Danish choreographer Anita Saij and consisted of a female part, "Medea" and a male part, "Ödipus". For "Medea" Diamanda Galás and the Danish choir "Ars Nova" delivered the music. "Ödipus" was sharply divided between the dancers, the Finish shouting-choir, Mieskuoro Huutajat - 30 men with funny hair - and Einstürzende Neubauten.
To start with you could hear the dancers footsteps in the sand and the sound of rice- windmills. Untill an incredible noise was flanging the hall and hovering above the dancers dessert appeared the Neubauten stage, fully equipped with plastic-bins and skids for the pebbles. The contrast was overwhelming.
Neubauten played the following repertoire:
"Wüste", "Armenia", "Salamandrina", "Headcleaner" and a piece written for the occasion called "Ödipus".
Because of the massive applause Neubauten ended up giving an encore,"Sand", after the last couple of shows.
Amazing to witness how everybody have to surrender to the intensity of Neubauten.

In connection with these performances, Blixa gave an interview:

Original version

English translation

"Katarsis" was the second cooperation Mufti and Andrew did with the coreographer Anita Saij. A year before they had written the music for her performance "Tornfuglene" ("Thunderbirds").
Latest this coorperation has resulted in a brilliant version of Dante's "Inferno" in the performance "Acid Cirq", which found place in a circus tent on a constuctionsite in '96, involving artists from "Circus Archaos". The sound was based upon Mufti's radioplay "Radio Inferno" to which several, rythmic pieces had been added and incooperated.