Question: Who did members of the group who originally performed Kollaps collaborate with?

full_context: Document 1: London: London was instrumental in the development of punk music, with figures such as the Sex Pistols, The Clash, and Vivienne Westwood all based in the city. More recent artists to emerge from the London music scene include George Michael, Kate Bush, Seal, Siouxsie and the Banshees, Bush, the Spice Girls, Jamiroquai, Blur, The Prodigy, Gorillaz, Mumford & Sons, Coldplay, Amy Winehouse, Adele, Ed Sheeran and One Direction. London is also a centre for urban music. In particular the genres UK garage, drum and bass, dubstep and grime evolved in the city from the foreign genres of hip hop and reggae, alongside local drum and bass. Black music station BBC Radio 1Xtra was set up to support the rise of home-grown urban music both in London and in the rest of the UK.
Document 2: Post-punk: Post-punk was an eclectic genre which resulted in a wide variety of musical innovations and helped merge white and black musical styles. Out of the post-punk milieu came the beginnings of various subsequent genres, including new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music. Bands such as Joy Division, Siouxsie and the Banshees, Bauhaus and the Cure played in a darker, more morose style of post-punk that lead to the development of the gothic rock genre.
Document 3: Post-punk: Artists such as Gary Numan, the Human League, Soft Cell, John Foxx and Visage helped pioneer a new synthpop style that drew more heavily from electronic and synthesizer music and benefited from the rise of MTV. Post-punk artists such as Scritti Politti's Green Gartside and Josef K's Paul Haig, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success. These new developments, in which post-punk artists attempted to bring subversive ideas into the pop mainstream, began to be categorized under the marketing term new pop.
Document 4: Post-punk: The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, often in favor of more commercial sounds. Many of these groups would continue recording as part of the new pop movement, with entryism becoming a popular concept. In the United States, driven by MTV and modern rock radio stations, a number of post-punk acts had an influence on or became part of the Second British Invasion of "New Music" there. Some shifted to a more commercial new wave sound (such as Gang of Four), while others were fixtures on American college radio and became early examples of alternative rock. Perhaps the most successful band to emerge from post-punk was U2, who combined elements of religious imagery together with political commentary into their often anthemic music.
Document 5: Kollaps: Kollaps was the first official LP by Einstürzende Neubauten, released in 1981 on German label ZickZack as #ZZ 65. The songs are a mixture of rough punk tunes and industrial noises. The industrial noises were obtained from self-made music machines, electronics, and found objects such as metal plates. The album was reissued in 2002 with "Stahldubversions", originally released in 1982. Blixa Bargeld, N.U. Unruh and F.M. Einheit appear on the album. "Jet'M" is a cover of the Serge Gainsbourg song "Je t'aime... moi non plus". The track 15 of many CD versions of the album is a live version of "Negativ Nein", recorded on 26 June 1987 at the Tempodrom in Berlin.
Document 6: Post-punk: In Germany, groups such as Einstürzende Neubauten developed a unique style of industrial music, utilizing avant-garde noise, homemade instruments and found objects. Members of that group would later go on to collaborate with members of the Birthday Party. In Brazil, the post-punk scene grew after the generation of Brasilia rock with bands such as Legião Urbana, Capital Inicial and Plebe Rude and then the opening of the music club Madame Satã in São Paulo, with acts like Cabine C, Titãs, Patife Band, Fellini and Mercenárias, as documented on compilations like The Sexual Life of the Savages and the Não Wave/Não São Paulo series, released in the UK, Germany and Brazil, respectively.[citation needed]
Document 7: Kassetten: Kassetten (English: "Cassettes") is the fifth release of Einstürzende Neubauten's Musterhaus project, a series of highly experimental CD releases that were only available via an annual subscription through their website or from shows during their 25th Anniversary Tour. This project was separate from their Neubauten.org Supporter Project, which it ran concurrent to.
Document 8: Make a Jazz Noise Here: Make a Jazz Noise Here is a live double album by Frank Zappa. It was first released in June 1991, and was the third Zappa album to be compiled from recordings from his 1988 world tour, following "Broadway the Hard Way" (1988) and "The Best Band You Never Heard in Your Life" (1991). The album's cover art was made by Larry Grossman.
Document 9: Sibylle Baier: The songs that made up her album "Colour Green" were home reel-to-reel tape recordings Baier had made in Germany between 1970 and 1973. Some 30 years later, her son Robby compiled a CD from these recordings to give to family members as presents. He also gave a copy to Dinosaur Jr's J Mascis, who in turn passed it along to the Orange Twin label. Orange Twin released the album in February 2006.
Document 10: Post-punk: Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.
Document 11: Miami: This was also a period of alternatives to nightclubs, the warehouse party, acid house, rave and outdoor festival scenes of the late 1980s and early 1990s were havens for the latest trends in electronic dance music, especially house and its ever-more hypnotic, synthetic offspring techno and trance, in clubs like the infamous Warsaw Ballroom better known as Warsaw and The Mix where DJs like david padilla (who was the resident DJ for both) and radio. The new sound fed back into mainstream clubs across the country. The scene in SoBe, along with a bustling secondhand market for electronic instruments and turntables, had a strong democratizing effect, offering amateur, "bedroom" DJs the opportunity to become proficient and popular as both music players and producers, regardless of the whims of the professional music and club industries. Some of these notable DJs are John Benetiz (better known as JellyBean Benetiz), Danny Tenaglia, and David Padilla.
Document 12: The Creation of the Universe: The Creation of the Universe is an album by Lou Reed's Metal Machine Trio. The trio was formed in 2008 with Ulrich Krieger and Sarth Calhoun to play music inspired by Reed's 1975 album "Metal Machine Music". The first concerts of the group were on October 2 and 3, 2008, at REDCAT in Los Angeles. The group was named Metal Machine Trio only after these concerts. The concert itself was announced as Lou Reed and Ulrich Krieger: Unclassified. The CD is the unedited live recording of both nights. It is available in a variety of formats from Lou Reed's website including, MP3, FLAC, 2 Disk CD and Deluxe CD. Cover and inlay photos are by Lou Reed.
Document 13: Post-punk: Until recently, in most critical writing the post-punk era was "often dismissed as an awkward period in which punk's gleeful ructions petered out into the vacuity of the Eighties". Contemporary scholars have argued to the contrary, asserting that the period produced significant innovations and music on its own. Simon Reynolds described the period as "a fair match for the sixties in terms of the sheer amount of great music created, the spirit of adventure and idealism that infused it, and the way that the music seemed inextricably connected to the political and social turbulence of its era". Nicholas Lezard wrote that the music of the period "was avant-garde, open to any musical possibilities that suggested themselves, united only in the sense that it was very often cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song".
Document 14: Collage (Le Orme album): Collage is an album by the Italian progressive rock band Le Orme. It was released in 1971. It is the first progressive-like album by the band, who had previously recorded only the beat-oriented "Ad Gloriam" of 1968.
Document 15: Zero Set: The music on "Zero Set" is strongly influenced by African rhythms and music. One track, "Recall", features Sudanese vocals by Deuka. Matthew Weiner describes it for Soulmind Online: "Though not a dance record per se, "Zero Set" is one of the earliest extensions of Krautrock’s possibilities on the dance floor, pitting the profoundly electronic sequence patterns of Plank and Moebius against the hyperactive percussives of Guru Guru drummer Mani Neumeier. On tracks such as the prophetically titled 'Speed Display' and 'Pitch Control', the phasing, chattering and decidedly Germanic grooves found on Zero Set constitute vibrant proto-techno at its earliest and finest." David Ross Smith, writing for Allmusic, describes the album: "...a highly percussive affair with Mani Neumeier. The album is saturated in drum and synth rhythms and polyrhythms, resulting in compositions that are energetic and infectious." Zero Set was a turning point for Moebius and Plank, a fact lamented by Steven and Alan Freeman in their book "The Crack In The Cosmic Egg". They say, in part: "...working with Mani Neumeier on Zero Set strangely took the music too close to techno for comfort..."
ground_truth: the Birthday Party
sub_queries: What is the name of the artist or group which originally performed Kollaps? Answer: Einstürzende Neubauten
Who did members of Einstürzende Neubauten also collaborate with? Answer: the Birthday Party