Various artists reworking of TNB's legendary LP from 1982.
Changez Les Blockeurs has attained a somewhat mythical / legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited some of their favourite artists to compose a reworking which have been issued collectively as Changez Retravaillé (Changez Reworked.)
Nurse With Wound, Philip Sanderson (Storm Bugs), Mark Durgan (Putrefier), Phil Julian (Cheapmachines), The Prestidigitators, Anomali, Spoils & Relics, Asmus Tietchens, Ralf Wehowsky (a.k.a. RLW), Das Synthetische Mischgewebe, Kommissar Hjuler, Rudolf Eb.er (Schimphluch Gruppe), Frans de Waard (QST), Jerome Noetinger, Giancarlo / Massimo Toniutti, Alexei Borisov, TNM, Thurston Moore, Jim O'Rourke, GX Jupitter-Larsen (The Haters), John Wiese, Idea Fire Company, Irr. App. (Ext.), Merzbow, K2, Toshiji Mikawa (Incapacitants), Kazumoto Endo, Nobuo Yamada, Daisuke Suzuki, Veltz.
Nurse With Wound open the Changez Retravaillé compilation, 30 tracks over three CDs. Consistent with their efforts to forge links with the global Noise community, and indeed a strong influence on it, it’s fair to think of this as a gathering of TNB’s peers. Most people in the market for this could have predicted the appearance of Mark Durgan (Putrefier), Rudolf Eb.er (Schimpfluch Gruppe), GX Jupitter-Larsen (The Haters), Merzbow et al. Durgan submits a rather invigorating aural firework display; Anomali and QST (Frans de Waard)’s Techno leanings feel considerably bolder than noise remixed as noise. With that said, harsh noise tornados like that served up by K2 can still rattle your senses. The Wire
Selected comments / reviews of the original LP:
As far as I'm concerned Noise as we know it today starts with Changez Les Blockeurs. It is universally accepted as the first true Noise LP of the modern era. Ron Lessard, RRRecords
A warehouse symphony in which workers pile scrap metal in on honour of Beethoven’s Ode To Joy. A masterpiece. ND
Changez Les Blockeurs is one of the few noise recordings I would unhesitatingly command as 'essential,' containing some of the most pure and untamed experimentation recorded in the late 20th century. Signal To Noise
Changez Les Blockeurs is full of chaotic Dada referentialism. You will be tempted to think first of Satie’s Musique D’ameublement (Furniture Music) in a perverse sense: a squawking symphony filled with rusty wheels and creaking wooden floor. A syntax destruction, an anti-narrative in the form of a happening that draws and maintains an acoustic noise art continuity with the assemblages of pre-Fluxus or to John Cage’s score Living Room Music. ei
Changez Les Blockeurs turned the international Noise scene on its head. It scrambled so many circuits that its influence is inestimable. It strikes parallels with the automatic music of Fluxus and is both ultra-sophisticated and jaw-droppingly crude. A freely improvised electro-acoustic session that utilizes the sound of wheelchair runners, broken glass and bowed metal in order to access a zone of complete brain-stilling gridlock. One of the first post-Throbbing Gristle recordings to run an umbilical to the classical noise of the 20th century.' David Keenan, The Wire / Red Bull Music Academy
Brought up as I was on the camouflaged Pop absurdism of Throbbing Gristle the short step into the anti-art Dada / Fluxus ethos of TNB would have been manna from a post-Punk heaven. Lumps of metal get thrown around in a bid to resurrect the ghost of Tristan Tzara, two invalids in wheelchairs fencing with broken car aerials, a baby elephant blindly trying to escape a room full of bicycles and sackbuts. It’s magnificent in its absurdity. It’s a discomforting listen that has gained near mythical status and deserves its status as one of the most sought after releases of all time. Idwal Fisher
When I listen to Changez Les Blockeurs I think of Tristan Tzara, Hugo Ball, and other self-proclaimed art revolutionaries who followed manifestos that promoted anti-rationalism above all else. With that in mind, part of me feels that attempting to review it is akin to trying to use a rational literary standpoint to critique Tzara’s books of proto-cut-up musings, Blago Bung Blago Bung, i.e. misguided and ultimately pointless. Feral Debris
There is no sense of composition, no beginning nor end, no milestone, no virtuosity. TNB's Dadaism can be compared to NWW’s Surrealism. Changez Les Blockeurs lays bare some primitive reality, defined by what it is not and from their negations only destruction remains. Unique in every sense of the word. Guts Of Darkness
Changez Les Blockeurs can be listened to a hundred times and still keep its mysteries intact. It'll also be just as confounding and compelling the hundredth time as it was the first. There isn't any other recording that sounds like this, not even the TNB records that came after it, solid as many of them are. Howard Stelzer, Intransitive
Changez Les Blockeurs is the ultimate statement in musical nihilism. It's hard to believe humans made this, there is no emotion in the work at all. Never before has anyone used textures like these in a context like this. No matter how much is said about this album, no matter how many meaningless and useless words are typed in an attempt to explain the importance of this record, nothing will come close to listening to it. Forget anything you know about music because it will be abandoned. As a document and as (non)music, TNB had in mind what they wanted to do with this record and executed it flawlessly. Notebooks