Rhys Fulber – “Nichts Dafür Getan” (feat. Konstantin Unwohl) : A lyrical electro track where raw early impulses meet a forward-thinking sonic design
Known for his work with Front Line Assembly, Delerium, and Conjure One, Rhys Fulber presents “Nichts Dafür Getan,” an introspective cut from his upcoming solo album Memory Impulse Autonomy, out September 5 via Artoffact Records. The track features Hamburg-based genre-defying artist Konstantin Unwohl, blending vocoder-filtered vocals with atmospheric synth lines and lyrics originally penned for a punk track.
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Born from spontaneous studio jams, the song revisits the unfiltered energy and creative freedom that defined Fulber’s early experiments in the 1980s. With its textured electronics and emotionally resonant tone, “Nichts Dafür Getan” offers a compelling glimpse into an album that bridges formative inspiration with a contemporary edge.
Scroll down for a brief Q&A with Rhys Fulber about the track and the story behind the album.
Hi Rhys! Great to have you. Can you tell our readers a bit about yourself and your music journey?
Sure. It’s been a pretty varied and complex journey involving several genres, but will try and give a summary here.
I started out in the late 80s as a teenager doing electro industrial and EBM with Front Line Assembly and enjoyed what I call the “golden age” of EBM, then via a remix, got involved with producing metal acts such as Fear Factory and Paradise Lost. An ambient side project of FLA called Delerium was also in that time frame, and spawned the club anthem “Silence” in a collab we did with Sarah McLachlan. I also had a similar side project called Conjure One that had a song with Sinead O’Connor called Tears From The Moon. Those led to being involved in production and programming with more mainstream artists like Josh Groban and Rob Thomas as well as some soundtrack work. Eventually I circled back to my roots a bit starting with industrial techno and now have circled further back to the electro industrial style but with more knowledge and variation than when I started.
How did the collaboration with Konstantin Unwohl come together for the track “Nichts Dafür Getan”?
I was struck by a song Ancient Methods opened a DJ set with in Berlin, and asked him what it was. It was his remix of “Ein Gewitter Zieht Auf” featuring Konstantin, then via the label aufnahme + wiedergabe. I reached out to him directly and got things rolling. I composed a couple pieces of music for him and he chose the one he liked and we refined it from there. He had some lyrics he had written for a punk song that never came to be and adjusted them to fit this song. Quite nicely in my opinion.
Memory Impulse Autonomy bridges past influences with a modern sound — how did you approach balancing nostalgia with innovation on this album?
I would start jamming and composing tracks using old methods and then refine them with modern techniques. Many of the tracks were improvisations and jams I did with older equipment, then put aside to be revisited later to complete their production. I like the older sounds and styles but didnt want to purposely limit myself to accent a motif. I think music is very much an art form of time and it needs current elements to mark the period in which it exists.
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