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Florian schneider leaves kraftwerk torrent

florian schneider leaves kraftwerk torrent

KRAFTWERK is a Progressive Electronic / Progressive Rock artist from Germany. In , the two original members (Florian Schneider and Ralf Hutter. Shop for Vinyl, CDs and more from Kraftwerk at the Discogs Marketplace. Florian Schneider-Esleben and Charly Weiss at the Tivoli Popfestival. The German musician, who died at 73, shaped sounds that provided templates for countless varieties of electronic dance music, rock and hip-hop. SIMIOLUS JSTORRENT Canyon Plaza Premier nightly builds for multiple platforms in. Book Contents Book. The drill is even electric, as app, at any. Chapter 9 Database your smartphone or.

Pascal Bussy and Mick Fish - Paris, Suddenly, they stop on a mountain pass. They take out of their pockets the miniaturised computers that they have with them. Into these computers they enter in special codes which launch simultaneous conceits in London, Madrid, Paris, Berlin, Moscow, Amsterdam, Rome and Stockholm.

In each of these cities a group of pre-programmed robots is playing the music of Kraftwerk. The Tokyo and Sydney concerts are already finished. On a small portable screen the two cyclists receive a message from their Dusseldorf Kling Klang studio where a team of engineers is controlling everything through a satellite connection: "alles OK" flickers on the screen. Ralf Hutter and Florian Schneider smile at each other and carry on cycling. This little home industry has consistently grown in stature if not in size and has embraced every new advancement in instrument technology, allowing each new machine to assume a life of its own.

The sum total of their endeavours has the outward appearance of a streamlined, corporate business where the studio, the music and the image, have been manipulated into one unique entity vastly different from a run-of-the-mill pop group. Yet this is a company which releases very little product - its workers are increasingly silent and uncommunicative. Infrequent LPs punctuated by the odd live performance are all the public now gets to see of Kraftwerk.

In an entertainment business saturated with groups craving attention, airplay and record sales, it is surprising that the public hasn't lost interest in a group whose contact with the outside world is so minimal. Exactly the opposite is the case.

Kraftwerk are one of the most respected, revered, influential and namedropped groups of all time. Even more than that, it is now inconceivable to view the course of modern music without that piece of the jigsaw that is Kraftwerk. It is also impossible to see how such diverse groups as OMD and Depeche Mode through to Afrika Bambaataa and numerous house and techno exponents could exist in the form they do today without the influence of Kraftwerk.

They have at one time or another been described as avant-garde musicians, creators of industrial music, founders of electronic pop, the Godfathers of techno music, even "The Beach Boys from Dusseldorf'. The labels are endless and inevitably limiting, but all these tags are at least in some way appropriate. Somehow, despite having existed for over 20 years, the group seem as modern today as they have always been. A remarkable and rare achievement in a world that thrives on the 'here today, gone tomorrow' ethic of a disposable pop culture.

This is even more surprising considering that it has been achieved by a group who have had scant regard for any of the trends or niceties of the pop business, and are of a nationality not normally associated with much indigenous pop or rock music. In fact, now that pop music is much more of a global business, it is easy to forget that there was a time when the idea of anything other than American or British rock music was almost inconceivable.

By the so-called "summer of love" was in full swing and a new spirit of experimentation saw certain rock musicians trying ever more daring excursions away from regimented forms of pop music. The atmosphere that allowed these musicians to surface was based around the slackening of attitudes, both social and musical, that had accompanied the emergence of the hippy movement.

Many of pop music's leading lights had started to turn their backs on the singles-orientated pop market and had adopted a new, more experimental, album-orientated rock music. The influence of rhythm and blues that had dominated the music of The Beatles and The Stones was now being abandoned in favour of more open structures borrowed from free-form jazz and ethnic music, often fuelled by copious quantities of LSD. In England, Pink Floyd and The Soft Machine were not only pioneers of a new fusion of music but also participants in large multi-media events, love-ins or happenings that far exceeded the expectations of an average rock concert.

At the same time, on the West Coast of America groups like the Grateful Dead, Jefferson Airplane and Frank Zappa and the Mothers of Invention were headlining their own cosmic acid-marathons with a strange mixture of totally spontaneous improvisation, feedback and traditional American music. Similarly in New York, as an antidote to all the peace and love of the West Coast scene, The Velvet Underground, under the guiding hand of Andy Warhol, were staging their own multi-media events based around the group's amphetamine-induced throbbing mantras and flashing light shows.

Sexual and drug experimentation, the emerging prominence of the feminist, gay and peace movements, all culminated in the feeling that young people now had a more effective political voice for change. However, in the main, Europeans like the French and Germans did not yet have their own indigenous rock groups. By and large, European efforts at producing contemporary music were considered laughable, confined to the sort of derivative hum-drum sing-a-long songs of the Eurovision Song Contest.

Most European bands contented themselves by playing cover versions of their British or American mentors, mostly regurgitating rock music's now burgeoning thesaurus of cliches but with the lyrics sung in slightly foreign accents. Perhaps because of the lack of musical role models, the European student movements took on serious political overtones.

They were unwilling to merely sit around with flowers in their hair listening to rock music, thus avoiding the hedonistic excesses produced by the London, San Francisco and New York hippy 'scenes'. The climax of this political activity occured in Paris in May , in an outbreak of youth rebellion that saw widescale rioting by left-wing students in the French capital, the intense severity of which caught the authorities napping. The destabilising violence that ensued, in some ways outweighed that of the peace demos and anti-Vietnam War demonstrations in America and Britain, so much so that it nearly succeeded in bringing down the French Government.

Here was an anarchic display of disorder that was far broader in its political agenda than even that of the more radical hippies. In Germany too, changing destinies reflected a deeper sense of political youth commitment. The country was still afflicted by a "cold war" menace fuelled by tensions between East and West. Consequently, a new generation of young West Germans were wrestling with a consciousness that remained in the shadows of Nazism and the Second World War, even though they were too young to have actually experienced the holocaust.

Similarly, a new world of opportunities opened up to film students like Fassbinder and Wenders. Also, a whole bunch of avant-garde music students became interested in challenging mainstream ideas about what constituted music. Of all the German groups that emerged on the crest of this particular experimental wave, three in particular - Can, Tangerine Dream and Kraftwerk - would go on to have a lasting influence on the international music scene.

The primary group to make an impact were Can. Formed in Cologne in , their influence would dominate German music for a decade. Somehow, Can managed to inject into their music a passion and anarchy that mirrored the student riots of They quickly became popular in Germany, Britain and France, where their mixture of quirky improvisation and ethnic influences was most readily appreciated.

Can's music was constructed in their own self-appointed studio, a room in a castle called Schloss Norvenich. Immersing themselves for days on end, they worked on pieces through a process of extensive improvisation over a steady and repetitious drum beat. The effect was to create a trance-like music that seemed to be both wildly random whilst being strictly regimented and disciplined.

Live, the group often played long sets that disregarded conventional song structures - songs were considered almost bourgeois. Now young people in Europe were getting a taste of their own homegrown 'happenings' similar to those going on in London, San Francisco and New York.

Can's initial impetus was as much born out of the classical avant-garde as it was contemporary rock music - two of the group, Irmin Schmidt and Holger Czukay, having studied classical composition under Karlheinz Stockhausen. The real long-lasting influence of Can on subsequent German bands lay in their emphasis on rhythmic repetition.

At a time when most drummers were showing an unrestrained flamboyance typified by Carl Palmer, Liebezeit was honing his technique to an absolute minimum, providing a solid base for the improvisational layers of sound produced by the rest of the group. Can succeeded in building a bridge between the rarified atmosphere of the classical avant-garde and the more traditional approach of rock music.

Once they had started the ball rolling by expanding musical barriers, other German music students took up the mantle, using the newest developments in instrument technology. In the years that followed, a whole gaggle of German groups attracted a sizeable fringe following across Europe and were tagged, somewhat derogatorily, by the UK music press as 'Kraut Rock'. However, the very existence of the tag signified for the first time it was possible to look outside the boundaries of the UK and the USA for a source of innovation in rock music.

Probably the major early influence on the perception of German synthesizer music were Tangerine Dream. Froese had spent some time in the mid-sixties in Cadaques with Salvador Dali, whilst Schnitzler went under the rather splendid nickname of "the mad genius from Berlin". The group were initially a traditional rock band, but mainly under Schnitzler's influence they became a totally electronic synthesizer band.

Later on, Tangerine Dream's ambient synthesized music throbbed with a similar trance-like repetition to that of the music of Can. With little percussive element to speak of drum machines not being widely available then , the rhythm was provided by the repetitive pulses and wave signals produced by the synthesizer. This was particularly evident in the repeated arpeggios that provided a rhythmic track of their own. Here was a totally new underground form of music that by its nature ignored the very idea of singles.

The length of the pieces often exceeding 20 minutes meant that they stood little chance of being played on the radio. They preferred to extend the boundaries of the perceived confines of "music". Unlike many jazz or classical avant-garde musicians who may have had broadly the same aims, these German groups were guided by a mischievous anarchic spirit.

As a result they managed to avoid becoming marginalised, aiming their music toward mainstream rock audiences. However, it soon became evident that there were further steps to take if this new German music was to make a lasting impact. Can, and especially Amon Diiiil, were connected with a 'hippyish' and anarchic imagery, being associated with the sixties and the so-called drug culture.

Similarly, although the music of Tangerine Dream had all the elements of modern technology, their image was still that of rather dowdy looking university professor-types playing with synthesizers. At this juncture 'Kraut Rock' could easily have ended up as a historical curio, a musical cul-de-sac that had been tacked onto the late '60s and early '70s hippy scene, with a limited if potent influence.

Even so, Can and Tangerine Dream were rewarded by quick success - not to mention a certain degree of notoriety. A famous concert by Tangerine Dream and Nico in Rheims Cathedral led to calls from the Pope for the building to be resanctified. As well as disapproval from the Vatican, the rock establishment were beginning to show signs of recognition to the point where German rock music could no longer be viewed as a joke.

This increased awareness created the framework for the third, arguably most influential, and certainly the most commercially successful German group to flourish. Kraftwerk, having arisen out of this experimental explosion, moved the whole perception of German music up a gear, ultimately extending the experimental philosophy and shining a torch toward a more technologically motivated future.

These new obsessions were taken to their logical conclusion, finally establishing synthesizer music with mass-market credibility. Spawning legions of imitators and influencing music far beyond the experimental or electronic, they were to provide the natural link between the German avant-garde scene and electronic pop music.

Like Can and Tangerine Dream, they were just students whose dream was to play music that expanded upon conventional notions rather than merely copying British and American rock music. Ralf Hutter was born in the town of Krefeld, near Dusseldorf, on 20th August, The son of a doctor, Hutter now describes his upbringing as "normal, devoid of interest.

Nothing special. Today, Hutter is equally as cagey about his early influences, now describing his first musical memories as, "nothing No memory about that. No flash, no event, no shock. However, strangely for someone who now claims his early musical interests were nothing and silence, Hutter did actually spend a number of years studying classical piano from which he gathered enough musical impetus to study electric organ at the Dusseldorf Conservatory.

It was in the improvising class that he met up with the distinctive looking Florian Schneider-Esleben. Florian Schneider was born on April 7th, , in a small town in the Bodensee area in the South of Germany, near the Swiss and Austrian borders. When Florian was three, the Schneider family moved to Dusseldorf, where he lived with his father Paul Schneider, his mother Eva Maria Esleben, and his two sisters.

Florian's father was a well-known architect, being responsible for a number of notable design projects in Germany including railway stations and airports. One his most famous designs was the Haniel-Garage in Dusseldorf which was built in This unique building was a transparent glass, five-floor car park for cars.

Diisseldorf itself was ravaged by bomb damage and bore the scars of war. I remember the streets were full of all these bomb holes, it was a bit like it is in the Lebanon now. But as a child this did not seem terrible at all, I had the feeling that the streets were a very exciting place to play, but of course it was very dangerous as well However, being brought up in the conflicting atmosphere of post-war Germany, the radio not only played late night electronic broadcasts of the sort that his parents would listen to, but also a lot of American music, as there was still a large allied troop presence in the town.

Schneider started by playing the recorder and, encouraged by his mother, soon moved on to the flute, even playing in some local jazz combos. It was music, and in particular the flute, that Schneider went on to study at the Dusseldorf Conservatory. Florian Schneider: "I studied seriously up to a certain level, then I found it boring, I looked for other things, I found that the flute was too limiting Soon I bought a microphone, then loudspeakers, then an echo, then a synthesizer.

Much later I threw the flute away, it was a sort of process. Like many early improvisers, their initial musical attempts were much more experimental than tuneful. Hutter explains, "the idea was to make contemporary electronic music. Ralf Hutter: "We didn't really have a strategy, we rushed into making industrial music, abandoning all our other activities from before - our education, our classical background.

It was a total rupture for us. Neither then nor now did we think about the future, or about some strategy. Why would we think about the future? Just how aware or influenced by each other these groups were remains very much a matter of conjecture, although the marked similarity in musical content would tend to lead to the conclusion that they at least shared some sort of common spirit without necessarily feeling part of a movement as such.

Certainly much of this apparent cohesion must be put down to the similarity in classical background which meant they were exposed to the same kind of avant-garde music. One of the most notable influences on all the early German rock groups was the central figure of Karlheinz Stockhausen. As leader of the Darmstadt school, his influence on the electronic music field was immense. His experiments with electronic sounds were also influential on rock musicians further afield - his picture being one of those included on the cover of The Beatles' Sgt.

Pepper LP. Whether this would have helped or hindered making sense of Stockhausen's music is debatable. His theories were concerned with expanding musical environments, being rather pretensiously described as "continuous event concerts in non-specific buildings" and often featured what appeared to be random blasts of sound. Similarly influential was the Italian composer Russolo who built up what was described as "musique bruitiste" with noises and sound effects. Conrad even went on to record an album in the '70s with the German band Faust.

The last component that made up this avant-garde jigsaw was the considerable interaction between the French Radio station France Musique - where composer Pierre Schaeffer played a huge role as a radio pioneer - and its equivalent radio stations in Germany. All these influences were in some way responsible for shaping the emerging electronic rock scene in Germany. Certainly by , Hutter and Schneider had already begun to put their improvising experiments to some use.

They formed the core of a group called Organisation whose early music was a mixture of feedback, sounds and rhythm. As music students, they could have chosen to work in any number of different fields, but they consciously chose to interpret their early improvisation within the bounds of a rock band. Group friend and journalist Paul Alessandrini: "The interesting thing is that both of them came from families of the upper middle class.

Sometimes I get the feeling that they were intellectuals from the high bourgeoisie who wanted to discover another world. They have always been fascinated by discoteques and girls, and coming from the sort of social background and education they did, music was the only way.

They had this German aspect, the family aspect, very starchy - and they wanted to team up with the rock world. However, this was a world which was vastly different from the trappings of rock 'n' roll in the UK or USA. Many of the German music students considered themselves less part of any rock scene, and more like performance artists who were making a musical art statement.

Ralf Hutter: "We were very lucky, at the time there were electronic music concerts, happenings, the Fluxus group etc. It was very normal, we played on the same circuit, the galleries. When we began we didn't have any engagements in the traditional music world, we were engaged in the artistic world, galleries, universities, etc. I remember Ralf being very communicative, but Florian didn't speak so much.

It was the time when they were involved with their band Organisation. We had not brought many instruments with us, so we played one long piece on their instruments for about 15 minutes. As far as I can remember this was Can's first public appearance. Later, when they had formed Kraftwerk, they came to Schloss Norvenich four or five times and we played jam sessions together in the afternoons. I think that we were more open. The following year the momentum continued. Initially recorded for Conny Plank's company Rainbow Productions, the music was produced and engineered by Conny Plank in his temporary studio which at the time was located in a disused refinery.

Rainbow had been set up by Plank not only to record contemporary German rock bands, but also to act almost as an agency, providing business help to find a release for their material. As a result, when the LP was completed, Plank visited England and took it to a friend who had connections with RCA who were sufficiently impressed to release it as an LP.

Conrad known to all as Conny Plank was an amateur jazz musician who had become a radio sound technician. This had given Plank the unique opportunity of being the sound engineer on a Duke Ellington session. He also admired the simplicity of the music of the Jamaican producer Lee Perry and the minimal technology that was used to produce it.

Perhaps more importantly he quickly realised that it was pointless for. European musicians to try and imitate British or American groups, something which he hated, and as a producer set about devising ways of giving groups like Organisation a discernibly European identity and sound. Despite having a specifically German outlook, Hutter and Schneider chose to operate under the English name of Organisation for their first LP. However, it was an unusually ambitious step for a German group to sign to an English label.

This could have been interpreted as a potentially groundbreaking move, exposing German music to a wider English audience, but it was one which partially back-fired. English audiences were not quite ready for the new wave of German groups. Furthermore, as RCA was a British record company, the LP was only available in their native Germany as an import and thus failed to sell many copies.

The front cover featured a pseudo-mythological drawing by the mysteriously named Comus, of the sort that was fairly common place on LP sleeves in the early '70s. In attempting to be enigmatic it bore more than a passing resemblance to the cover of the first King Crimson LP but was much less successful as an image. On the back cover was the first appearance of the duo's early adopted symbol - the soon to be familiar image of the traffic cone.

In choosing an everyday mass-produced image, Hutter and Schneider had been influenced by the early sixties art of Andy Warhol. They were no doubt impressed by Warhol's knack of taking an object of little significance and turning it into a trademark. Whilst Warhol's "Coca-Cola Bottles" symbolised everyday Americana, the traffic cone was an everyday image that could be seen aplenty on the German autobahns. Unlike conventional rock groups who have a body of songs ripened and honed by constant gigging and ready for inclusion on a debut LP, many experimental bands' first waxings verge on the tentative.

The Organisation LP is no exception, and their initial step into recording, like much else in their somewhat elusive and blurred past, is something they are reticent to expand upon. Florian Schneider: "We were very young, and we were just trying different things. The group was me and Ralf, and some other people who changed from time to time. We were maybe the most important members, but both of us also worked 13 on different projects. I don't remember so well They draw from French classicism and German electronic music.

However, with Tone Floafs clumsy percussion, rather doom-laden bass lines and ponderous organ chords, comparisons with Pink Floyd are difficult to ignore. Similarities with Can are also evident, but the title track "Tone Float", which takes up the whole of side one, and other tracks like "Silver Forest" and "Milk Rock", do not build in anywhere near as tense or dynamic a way as their improvising contemporaries.

Somewhat similar to Pink Floyd's first post-Syd Barrett LP, Ummagumma, released a year earlier, the pieces all too often meander and irritate rather than intrigue. Whereas during its better moments Ummagumma relies on its melodic strengths, Tone Float has no such backbone to fall back on. The LP features repetitive percussion and bass drum patterns, embellished with guitar, flute, violin and organ, all vying for attention.

More often than not Hutter's organ playing dominates proceedings, but very much in the soloing mode of improvisation, presumably encouraged by classes at the Conservatory, showing none of the restraint that would dominate later LPs. Sections of the music are clearly '60s influenced and have an almost eastern feeling with scratchy violin and bongos. On the whole they fail to achieve anywhere near the eery mantric feeling of The Velvet Underground or the cosmic humour of the early Floyd.

But there are glimpses, however brief, of Hutter and Schneider's interest in minimalism as certain moments on the LP almost seem to peter out into silence. The Organisation LP having been released through RCA, neither sold well nor made the impression that some of the other German groups had achieved. It was obvious that the duo would have to find not only a different record label, but also a more confident sound if they were to establish an identity of their own and emerge from the shadows cast by their more successful compatriots.

However it is interesting, if nothing else, as an example of the growing pains of two musicians who were eventually to break out of the restrictions imposed on them by unstructured improvised music. In reality, any comparison between the later Kraftwerk sound and the Organisation LP is hard to draw. It is quite easy to understand why Hutter and Schneider might later want to draw a quiet veil over this earliest part of their career. Certainly, Tone Float cannot conceivably be considered as the duo's forgotten masterpiece, in fact, many people remain unaware of the LP and assume that their first recording was the self-titled Kraftwerk that appeared in the autumn of the same year.

Perhaps they realised that undisciplined improvisation could be as restricting as song structures. Also, with Organisation being essentially a democratic five piece band, it was difficult to develop a disciplined approach. When they were to record again a few months later, the duo could concentrate on a harder more regimented edge, and the seeds of the more familiar Kraftwerk sound would be much more apparent.

Hutter and Schneider too, whilst lacking Czukay's mischievous edge, became intrigued by the notion of a new type of technological music. They started to entertain similar ideas to that of Czukay - that recording machines could assume a life of their own. Later, of course, there was little distinction in Kraftwerk between the music and the studio. In effect, advances in recording technology would become the raison d'etre of the group's existence.

Eventually, they became obsessed with producing music that almost sounded as if it had been created by machines - not just musicians who were also studio engineers, but more like sound engineers who happened to produce music. This led to the logical conclusion that the studio was a musical instrument or member of the group in its own right. As they would put it, "we play the studio".

Ultimately, as the Kraftwerk sound developed, the studio became a kind of technical laboratory, claiming that they were not so much entertainers as scientists. However, this could only have been a twinkling in their eye when Hutter and Schneider took the inevitable step early in of establishing their own makeshift studio in the centre of Dusseldorf.

In the same building as it is today, it was set up in a 60 sq metre rented loft in close proximity to the main railway station. After fitting out the room with sound insulation material they started recording sounds on stereo tape machines and cassette recorders with a view to taking the tapes to a fully equipped recording studio for final mixing.

It was even reported that part of this recording process involved the duo having microphones hidden in their clothing so as to capture various sounds as they moved around. Dusseldorf being located in the industrial heartland of Germany provided Kraftwerk with the inspiration for many of these early tapes, recreating the sounds of the flat industrialized zone on the banks of the nearby Rhine. From very early on they were forging musical connections between the exterior world and their own interior idealised vision of that same world as constructed from within the confines of their studio.

The musical development of Kraftwerk was inextricably linked with the small but thriving city of Dusseldorf. Located in the western region of Germany, hugging the Dutch border, it was the perfect place for the birth of the Kraftwerk musical ideology, being symbolic of a new German modernity after the Second World War. Just as Frankfurt had become the symbol of financial power, so Dusseldorf was the main city of the "Ruhrgebiet", the biggest industrial concentration in Europe.

As such it symbolised a new form of industrial power represented by clean, modern design. In musical terms this was reflected in the differences between Can, who produced a more traditional music from the solid cultural background of Cologne, and Kraftwerk who were to go on to adopt a more modern musical language from their base in Diisseldorf. After disbanding Organisation, the duo had adopted the name Kraftwerk literally Power Plant. By choosing a specifically German name rather than an anglicized one, it was a clear statement of Germanic intent, as well as possibly claiming the higher ground over other popular German groups who had adopted English names.

In fact, it was common practice for rock groups in Germany to choose names that reflected the sort of music they played, rather than picking a random or arbitrary one like many English and American rock bands. Therefore the word Can, having meaning in English, Turkish and Japanese reflected the ethnic interests of the group.

Likewise, the names Ash Ra Tempel and Tangerine Dream reflected the more typically "cosmic" end of the German rock scene. Needless to say, the name Kraftwerk came to speak volumes about the industrial influence and motivation that Hutter and Schneider's new group would embrace. However, according to the group's later collaborator Karl Bartos, the name was contrived from less intellectual beginnings. Apparently, Hutter and Schneider, on a trip to East Germany, had been amused by the names of football teams like Dynamo Dresden.

They all seemed to have rather grand and industrial connections. Hutter and Schneider started playing around with imaginary team names of their own with prefixes like Kraftwerk, and thus the name stuck. On German roads the power stations kraftwerks are indicated by road signs.

So, every kms or so you would come across a sign that indicates to turn off to the kraftwerk. The group were very aware of this extra angle to the appeal of their name. Not only did they choose a German name but all the early tracks that the group worked on had German titles as well.

By not conforming and anglicizing their product, they were making a conscious effort, however small, to regain some of the ground that German culture had lost in the post-war years. They were trying to reverse the 'Americanisation' that had been imposed on many aspects of German society, and most particularly popular music.

By being the first of the new German groups to title pieces exclusively in the German language, they were expressing themselves with an even stronger central European identity. Ralf Hutter: "The culture of Central Europe was cut off in the thirties, and many of the intellectuals went to the USA or France, or they were eliminated.

We [Kraftwerk] are picking it up again where it left off, continuing this culture of the thirties, and we are doing this spiritually. Many Germans referred to this period as "die Stunde null" the hour zero referring not only to the economy and politics, but also to culture and music. Perhaps more than any of the other German groups, Kraftwerk expressed through their music the rebuilding and continuing of Germany's past culture.

Hutter later expanded on this to Lester Bangs in We want the whole world to know we are from Germany, because the German mentality, which is more advanced, will always be part of our behaviour. We create out of the German language, the mother language, which is very mechanical, we use it as the basic structure of our music.

In reality Kraftwerk have always appeared politically ambivalent, and such answers must be taken on an artistic and cultural level rather than in a political context. However, in expressing their national identity in such a way, they may have been reacting against the hippyish, more left-wing orientation of most of the other German groups whom Kraftwerk had largely outgrown by the time of Hutter's statement.

Back in , following the mutual disappointment between the group and RCA over the lack of success of Tone Float, Hutter and Schneider started to look for a record company with German connections to release their next record. They ended up signing a deal with the newly established Philips label. The label was owned by the Hamburg-based Phonogram, itself a subsidiary of the Dutch parent company Philips, who had strong links with the large German company Siemens AG.

In a rather roundabout way, it somehow seemed harmonious for the burgeoning pioneers of a modern industrial music to be connected with one of the top industrial companies in Germany. Kraftwerk were only the third signing to Philips, after the now forgotten Ihre Kinder in , and Frumpy in The first fruit of their signing to Philips was the self-titled Kraftwerk LP. Recorded between July and August of in their new studio, it was co-produced and engineered by Conny Plank, this time with the assistance of Klaus Lohmer.

Plank, by then an experienced engineer, could presumably have chosen to concentrate on more lucrative work. However, because he believed so strongly in the pioneering music of Kraftwerk, he helped with the recording process often for little or no remuneration. His was a key role, being crucial in developing Hutter and Schneider's recording abilities up to the point where they could perceive themselves more as studio engineers than musicians.

Like most good producers Plank was good at organising people within a studio environment. Then someone would make a few suggestions and one of the group would decide whether they liked it or not. From Plank's description it was clear that even this early on, with limited time constraints, the Kraftwerk creative process could be a slow one.

As Plank put it, "To me it is more important that the picture is right no matter what sounds are used on tape. Both front and back covers featured a dayglo orange and white traffic cone with the word Kraftwerk overprinted.

For the uninitiated, it was not clear whether one was to assume that this was the name of the LP or the band, or both. Opening the double sleeve of the album revealed a large photo of an electric generator, another indicator of the industrial and technological image that the group was beginning to embrace.

From the very opening notes of the LP, it is evident that the duo had quickly put much of the meandering uncertainties of Tone Float behind them, arriving at a much more disciplined form of music. Kraftwerk contained a lot of the elements that would later make up the group's sound, without ever perhaps making a conclusive whole.

Rhythmically it is much stronger, featuring Andreas Hohman and Klaus Dinger on drums. Initially they had difficulty in finding drummers who could embrace their more avant-garde ideas. Ralf Hutter: "Not only were we interested in Musique Concrete but also in playing organ tone clusters and flute feedback sounds that added variety to the repeated note sequences that we recorded and mixed on tape.

Then we used several acoustic drummers as we turned our attention to more rhythmic music, and soon found that amplifying drums with contact mics was desirable for us but not readily accepted by the players.

However, in choosing Hohman and Dinger they were obviously aware of bringing in two people who were naturally rhythmically inclined, providing a balance in the group between rhythm and experimentation. It also gave more of an impression of a working band of four members, even if all the other instrumentation and compositions were credited to Hutter and Schneider. Side one opens with "Ruckzuck", a piece which was to become a live favourite of the group.

They often started their early concerts with this track which is dominated by Schneider's breathy flute riff. Following on is the 12 minute "Stratovarius" which, although having an eery improvised feel, gives the impression that the structure of the piece is altogether more ordered. The types of sound are more subtle and the track builds with an inner momentum and logic.

The title of the track is a play on words possibly alluding toward classical music as subject matter i. The tempo speeds up and slows down to various climaxes, ending with a plaintive violin and flute played over a minimal percussive beat. The final climax ends suddenly and abruptly like someone has turned the volume off. Side two opens with "Megaherz" which begins with a low oscillating note slowly developing into waves of industrial sound.

This finally gives way to a quiet passage which has an almost classically minimal tune, showing an early understanding of the sort of basic melody lines they were later to use to such effect. However, some of the music on Kraftwerk still bore more than a passing similarity to their German contemporaries. But it is the LP's last track which really begins to state the group's forthcoming electronic agenda.

On "Vom Himmel Hoch", noise swoops from speaker to speaker, tension building as stabs of industrial sound are joined by a tribal drum beat. Some passages sound like machines that have been left to their own devices, bleeping and twitching like radios and amplifiers feeding-back in a corner. The intensity and probable direction of the duo was now clear as the track steps out of the shadows of their contemporaries as a menacingly evocative portrayal of industrial sound.

They had managed to mix a blend of obsessional rhythms, flute whispers, organ sighs and treated violin sounds, giving a much stronger almost hallucenogenic effect. Sounds glide in and out, monotonous and hypnotic rhythms build only to disappear.

Similar to pieces by Terry Riley and Steve Reich, childish, almost nursery rhyme melodies, evolve and slightly change over the course of a track. With a successful recording under their belts, the group's confidence had grown to such an extent that they were able to consider playing more concerts in their native Germany.

These concerts were often advertised with a poster featuring the red and white traffic cone with a naked woman superimposed on it. Once again, like the concerts that Organisation had played, these were not so much tours of rock clubs, but generally in more esoteric surroundings. Ralf Hutter: "We played concerts here and there, at Universities, parties or happenings.

We travelled around in a Volkswagen van, living at various friends' houses in other cities. It was not a big organisation like it is today, with stages, container trucks arid PA systems. Hohman was the first to leave and for a short period they continued as a trio. Then, Hutter, Schneider and Dinger were joined by Michael Rother guitar and Eberhardt Krahnemann bass , a five piece line-up which was to only last for one session.

Krahnemann's exit was amazingly followed by Hutter himself and for a six month period the group consisted of Schneider, Rother and Dinger. Perhaps not surprisingly the music this trio played bore a closer resemblance to Rother and Dinger's later work with Neu!

The trio recorded a 35 minute session at Conny Plank's studio which was never released. However, a good impression of the music they made is a performance that they gave for "The Beatclub" which was filmed and broadcast on German TV in This first TV performance by Kraftwerk shows Schneider with his flute and electronic equipment, Rother on guitar, and Dinger on drums.

This film has recently become available in Japan on video laser-disc, alongside performances by Yes and Soft Machine under the title "Frontiers of Progressive Rock". Not long after this recording, Rother and Dinger parted company with Schneider and formed Neu!

Neul's music was a natural extension for Rother and Dinger, taking some of the early Kraftwerk ideas to their logical conclusion. Neul's metronomic pulses also drew parallels with Can, and it came as no surprise that Rother would use Can's Jaki Liebezeit as drummer on his later solo recordings. In any event, when the Kraftwerk 2 LP was released, Hutter and Schneider had rejoined forces to continue Kraftwerk's electronic ideas.

In fact, Rother and Dinger had been involved in early sessions for the LP, but left due to what Rother calmly describes as a "question of temperament, of character". The latter was owned by Ralf Arnie who was a key figure in the Hamburg rock scene and with whom Kraftwerk subsequently signed a publishing deal.

The LP is once again co-produced by Conny Plank, whose contribution is acknowledged by a picture credit on the inside sleeve. This may well have been in part a thank you to Plank who believed enough in the music to persuade people like Ralf Arnie to give Kraftwerk cheap and sometimes free access to commercial studios, often working through the night. Kraftwerk 2, again released on the Philips label, is very much a musical extension of Kraftwerk.

Certainly the cover concept is a direct continuation, being exactly the same in design, only this time the traffic cone is dayglo green and overprinted with 'Kraftwerk 2'. The idea of making the two covers so similar was probably borrowed from Warhol who would do a series of silkscreens of a particular picture, with only a small colour change between each print. However, copying this trick may have backfired on them.

The cover was so similar to the first LP that people might have been forgiven for assuming it was the same record slightly re-packaged. With leather trousers, long hair, dark glasses and leopard skin jackets, the duo look strangely like members of an early Roxy Music line-up. The bottom row of photos is saved for pictures of the various instruments used on the LP, as if, even then, the instruments like the studio today were considered to be additional members of the band.

Kraftwerk 2, like its predecessor, was totally instrumental. Hutter credited with rhythmusmaschine rhythm machine as well as a host of other instruments such as the organ, electric piano, glockenspiel, harmonium and bass. Schneider meanwhile is credited with guitar, flute, glockenspiel, and the rather obscure sounding "geige" and "mischpult".

The LP found the group developing ways of treating these conventional instruments electronically to create both a new way of playing and a new type of music. Thus piano, flute, guitar and violin are all deformed in an attempt to get away from the sounds normally attributable to them. This way of treating conventional instruments was similar in nature to the music of John Cage amongst others, and in particular his piece called "Prepared Piano".

By this time, having parted company with previous drummers, Kraftwerk 2 features no conventional drumming at all - the rhythm being produced by a rhythm machine and echo box. At the time, drum machines were very much limited to the sort of rhythm box that could be found in an electric organ and would have a few pre-programmed beats like a bossanova. Ralf Hutter: "In Kraftwerk was still without a drummer, so I bought a cheap drum machine giving some preset dance rhythms.

By changing the basic sounds with tape echo and filtering we made the rhythm tracks for our second album. Our instrumental sounds came from home-made oscillators and an old Hammond Organ that gave us various tonal harmonies with its drawbars. We manipulated the tapes at different speeds for further effects.

The track's constantly shifting tempo is due to the changing beat of the drum machine, giving the impression that for the first time it is a machine that is actually driving the music forward. This in was a totally new phenomenon. To most people, the very idea that a machine could dictate the form and shape of a piece of music was an alien concept.

The track confused the listener further as the tempo almost seems to speed up and slow down at random. Gone is any pretension to improvisation, the whole piece is built with a structure similar to the repetitive patterns in Steve Reich's early music. The title Klingklang ring sound in English , was both descriptive of the group's music and a catchy monicker.

As such it was not surprising that later records were credited as a Klingklang production, and to this day the two still record in their now-named Kling Klang studio. Relying more heavily on guitar distortion than drum machine, the second side of Kraftwerk 2 has an altogether more atmospheric feel. The minimalism of the ideas have an almost child-like simplicity, relying heavily on echo. Being totally uncluttered the tracks often sound as if they are going to peter out altogether like the fading soundtrack to some non-existent film.

So, "Strom" starts with what sounds like breathing or respirator noises, or someone snoring into a microphone. The understated "Wellenlange" is more typical of their later subtlety, but has the added irony of an almost twelve bar blues bass motif coming in toward the end. The LP concludes with "Harmonika" which features Hutter playing repeated arpeggios on the harmonium.

The trick of concluding an LP with minimal, arpeggiated phrases, was one which they would use to great effect on later LPs. However, although these two LPs are often quoted as very important early industrial LPs, they do not conjure up as raw a sound as one would perhaps have expected from the industrial heartland of the Ruhr. Consistent with the care taken over later LPs, the tracks have more of the mechanical touch of light industry without the roaring thunder of heavy machinery. With the exception of a generally mechanical and Germanic feel, neither of the first two LPs could be described as having any cohesive theme and yet to surface is the group's conceptual approach to the entirety of an LP.

Having said that, both LPs have the feeling that their so-called industrial sound is in someways idealised and thus conceptual to a degree. Similar to the altered vision of reality portrayed in the films of Fritz Lang, there was a real hint that there was an ever growing contrast in Kraftwerk between the real world and their idealised vision of it as represented by their music.

Today, although they admit that some of the elements of minimalism on the first two LPs were important precursors to the music they produce now, they are generally non-communicative about them. Florian Schneider: "Maybe the idea was to try to achieve a concept, it worked better later, of course.

But today we don't consider the first albums as important works, as important compositions. It was another period. Although, with both he and Schneider having come from comfortable backgrounds, it is not inconceivable that their musical endeavours were at least in some way subsidised by their respective families. However, initial sales of the first two albums were encouraging, the first LP achieving sales of around 60, in Germany.

The second LP fared slightly less well, possibly due to their insistence on the confusingly ambiguous cover and title. Can in particular had successfully bridged the gap between experimental and pop music. By the end of they had a top ten hit in Germany with "Spoon", a track used for the title music of a German TV thriller series, proving that their experimentation could be just as successful within a three minute single format.

It would be another three years before Kraftwerk would prove the same point with their own music. Listening to Kraftwerk's early recordings today, it is probably easier to see in retrospect how detached from the other German groups they actually were at the time. Whilst definitely fitting into the Germanic music scene, they were nonetheless in direct juxtaposition to the traditional instrumentation of Can and Amon Diiiil in Cologne and Munich respectively, and the Berlin bands who were exclusively infatuated with the new synthesizer.

It was noticeable how the German rock scene could be divided into its component parts, the Berlin, Munich and Cologne bands, and the Dusseldorf scene that was centred around Kraftwerk and Neu! So, whilst the Berlin scene was very "cosmic", the Dusseldorf scene had its own distinctive electronic feel.

The groups from Dusseldorf were not interested in goals of musical purity or beauty, but more of creating a new musical language which used every sound source available including industrial technology. As a result, both Kraftwerk and Neu! Because of this, Kraftwerk were beginning to build up a considerable reputation for themselves. Although not yet reflected in world-wide sales, they were also gaining a notoriety further afield for avoiding the norms of rock music that were now being adopted by some of the other German groups.

In January , Jean-Pierre Lentin in an edition of the French monthly Actuel devoted to the underground in Germany, described Kraftwerk like this: "Kraftwerk live and play at night. Its musicians are pale, we could think that they are night creatures, vampires maybe. Ralf Hutter wears a black leather suit, white boots, his hair pulled backwards.

It has white walls, a mattress on the floor, and a strange echo in each room. At midnight he goes out and meets Florian Schneider-Esleben in their studio. They are the founding members of the group, together again after a few adventures. Both have studied classical music but have long since abandoned the old theories.

They play flute, violin, guitar, organ systematically distorting conventional sounds with new ways of playing electronics. Sometimes the music is completely atonal, a pure fascination with noise. Watching the band perform this I could not get Kraftwerk and the passing of Florian Schneider out of my mind. The four figures still on the darkened stage brought their progenitors to the forefront. Seeing Paul Humphreys standing at his keyboard got me a little misty eyed.

As much as OMD take from the Kraftwerk template, they are still their own band. When Andy holds a bass that is when the band were at their peak. Sometimes Andy was out of range of the fixed focus camera that recorded the event. And how fortunate for them that singe written barely bout of their teens were so mature and timeless.

Which made the rest of the second set disappointing in comparison. The encore was problematic. There was so much right to be enjoyed by this band who are making excellent modern records with none of the songwriting compromises that marred their mid period. Hearing it is jarring next to the superb early hit material and the music they have released in the last decade. They prolonged the commercial life of the band but were the cause of its breakup in So their cost must be questioned.

The band would seem so much stronger without them. And only American audiences care about those songs in the first place. Regarding the presentation of this show, I really loved the single camera p. Sure, sure. I wish more concert home videos were like that. On the other hand, the formula of an OMD concert is showing its age. A glance there revealed that the classic enamel badges had been remanufactured anew!

And when my wife entered and saw it she asked if I was going to buy that. And no regrets there. Better still, I mentioned to her that I regretted missing that lovely gold foil on red PiL short of a few years back. The OMD concert will be up on their YouTube page for at least a few days so if you care to partake then have at it, but quickly.

And if that shirt calls to you like it did to me, then click that button below! I fully agree with your review of the show Monk. I figure if they can work Stanlow and Almost into their set, they can at least manage a more British centric set list for that audience. But I did enjoy the show.

It was close in set list to the show I saw in St. Pete, and that was one of the best shows, energy-wise I had seen in a while. Oh and that Maid of Orleans T-Shirt is mine now as well…. Like Like. Echorich — Technically, this was a 80s Rewind type show. Any band around for this long would have to try hard to avoid that. But I wish they would. I often count how many songs from a show of core collection bands I see and that would be OMD, Simple Minds, and Bryan Ferry over the years and count how many tracks in the set were singles.

Hey Andy ,Paul! Well I tried to watch it but gave up. I just can not listen to anything from the last 3 albums. I would rather have that Faltering sound of the first 2 albums than the highly polished chrome of the last lot….. W — I like the last three albums but the fact is that they are using soft sunths to produce the music and the lack of texture and grit that their music had in the beginning due to their sound design makes an impact.

I wish to pick up on a few of your points. There was no intermission; cut or not cut from the programme. The concert was a constant minutes of music, appreciation and crowd interaction most of that was cut; you saw the picture jumps, taking it down to just over 95 minutes. After the euphoria of Maid Of Orleans had died down we were immediately treated to the updated Time Zones montage as the band came down to the front of the stage for Statutes and then Almost.

The few non-singles were included to keep the die-hard OMD fans from moaning, which they are world record holders at doing. If You Leave was an odd choice for a UK gig as it most certainly was not a hit here, but it gave Martin an excuse to use the saxophone twice rather than just the once as in So In Love. Dreaming was not only a huge hit in Britain but it is well recognised because so many causal OMD pop fans only bought The Best Of and of course that single was on there but not on any studio album.

It works for a well balanced concert. That show was standing-only within the stalls which is always a delight for an OMD gig. Talking of seats, maybe OMD can play a thought provoking arty gig where the punters sit and rub their chins pensively. It is hardly a fun though. Believe me; Red Frame White Light just does not work live. I was at the sound check so I know.

I do agree about the joy of camera angles not being controlled by a hyperactive child. It meant we had the time to enjoy what we saw. OMD are superb fun live and that is why I saw them five times on that tour. It was worth every penny. It will be released on DVD too. I was rather underwhelmed by the gig.

So really there was little difference between this and putting on one of there far too many live CDs. And they do have too many live CDs I think I have three and will end it there. Could be worse. It could be Simple Minds. Let me guess. Andy dressed in black. The two others behind keyboards. Drummer on a riser. They are well passed their sell by date.

By 30 years. Last three albums did 0 for me. And I listened to them several times and even saw them live on the last tour and walked out. They could do a more interesting set list but that is not what the general fan wants. Simple Minds. New Order. Depeche Mode. The Cure do mix it up if you can stand a three hour show. New Order also mixed it up once for a show turn reverted back to the same old formula.

Jordan — I liked that first three hour Cure show a lot. The second one a few years later? Not so much. Ferry makes great set lists as these things go. It only made 50 in the charts.

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There is no such thing. Their addiction to this virtuous vice inspired the sinewy single "Tour De France. Drive and discipline is probably something Schneider absorbed from his upbringing. His father, Paul Schneider-Esleben, was a respected architect whose functional buildings and airport redesigns took their bearings from the "New Objectivity" school of the s.

The parallel with Kraftwerk's balance of severity and grandeur is striking. It's almost as if Schneider imbibed minimalism from the ambient attitudes that surrounded him as a child. It took Kraftwerk a while to arrive at the stark, stripped-down sound and uniform group image of the classic late-'70s albums, Trans-Europe Express and The Man-Machine.

They started, in the final years of the s, as post-psychedelic progressives — long hair and all. Sharing an interest in improvisation and avant-garde electronics, as well as a fondness for The Velvet Underground, the Doors and the multimedia provocations of Fluxus, they joined with three other musicians and recorded the album Tone Float under the name Organisation. While the name foreshadowed the technocratic image to come, the music itself was freeform, in typically late-'60s style.

They also worked for a while with guitarist Michael Rother and drummer Klaus Dinger, who would go on to become Neu! At a time when nearly all European bands had English names and sang English lyrics, the choice of Kraftwerk as a name was a statement.

Schneider talked in interviews about how the clipped precision of Kraftwerk's music had a relationship with the national character and "the feeling of our language Our method of speaking is interrupted, hard-edged In the early days, though, Kraftwerk's music neither referenced nor evoked the robotic. Schneider's flute was prominent in the instrumental palette. He also contributed keyboards, violin, slide guitar, percussion, effects, xylophone.

Listening to the group's first three albums — Kraftwerk , Kraftwerk 2 , Ralf und Florian — and knowing how its sound would evolve, it's possible to hear the flute as a kind of proto-synthesiser. A small contingent of contrarian aficionados regard those three albums as the best stuff Kraftwerk ever did.

Bootleg versions circulated on CD in the '90s but an official reissue never happened. Schneider himself dismissed their interest value as "archaeology. Kraftwerk, photographed in New York in Kraftwerk might feel, justifiably, that its story really begins with Autobahn.

That is the point at which they went from a krautrock curio to a world-historical force, when the single edit of the minute title track became an international hit in Even then, though, twinkling guitar and wafting flute feature alongside synth pulses and drum machine. The metronomic putter of the rhythm is steady and serene, a controlled cruise that couldn't be further from Steppenwolf's highway anthem "Born To Be Wild. In , Schneider told Melody Maker the trance state created by "Autobahn" was nothing to do with a druggy speed-rush but "very clear-minded.

It is like when you are driving a car, you can drive automatically without being consciously aware of what you are doing. A hit single in Britain, the U. David Bowie became a vocal supporter, turning on his own audience by playing the album before concerts on his Station to Station tour and gushing to magazines like Playboy about how "my favorite group is a German band called Kraftwerk — it plays noise music to 'increase productivity.

Bowie admired the way that Kraftwerk avoided "stereotypical American chord sequences. In its early days, Kraftwerk had resembled other krautrock groups in their scruffy appearance and emphasis on musicianship over showmanship. That began to change with the cover of Ralf und Florian. This presaged the look that would become Kraftwerk's trademark image: four men with slicked-back short hair and identical, spotless shirt-and-tie uniforms.

Schneider also profoundly influenced Kraftwerk's direction by befriending an artist named Emil Schult, who became the group's image-consultant. The styling and packaging of Kraftwerk on stage and on record vaulted forward in coherence and impact, transforming them into fellow travelers of British glam artists like Bowie and Roxy Music, inhabiting a parallel universe of retro-futurist chic. In the artwork for 's Trans-Europe Express , photography and a portrait painting by Schult make Kraftwerk look like a troupe of singing stars from between-the-wars, while the black-and-white video for the title track features the group in hats and leather gloves, gentlemen traveling in style in the private compartment of a s train.

The Man-Machine , from ,casts further back in time , its red-and-black color scheme and slant-wise typography paying homage to the graphic innovations of Soviet modernists like El Lissitzky and Malevich. But even as the imagery and allusions harked back to the lost futurism of early 20th Century movements like Suprematism and Bauhaus, the music itself pushed forward into the future. Kraftwerk were inventing the '80s, building the foundations of synth-pop and sequencer-propelled club music.

Acoustic instruments, including Schneider's flute, were fully jettisoned, the sound pared down to the sparse purity that we associate with "classic" Kraftwerk. Crucially, it was music stripped of individualized inflection and personality, no hint of a solo or even a flourish. Sometimes we play the music, sometimes the music plays us, sometimes Their image was of four very German looking Germans. And their music was not exactly deviant or sexual.

However it would not contribute to the war effort, that is true. This is why your grandpappy stormed Normandy, to stop Kraftwerk. The most surprising thing about Kraftwerk is that they are still around. Of course, Florian Schneider had left the band long ago and there is only one original member left in the band.

Scientists find blanket stay-at-home orders had little effect on curbing coronavirus outbreaks in Europe — but closing schools and banning all mass gatherings DID work. Draconian stay-at-home orders and shutting all non-essential businesses had little effect on fighting coronavirus in Europe, according to a study. But the same scientists discovered closing schools and banning all mass gatherings did work in slowing outbreaks across the continent.

Data suggests that transport use had started to fall and fewer people were visiting doctors with coughs and breathing problems in the weeks leading up to the dramatic policy change, that people were obeying social distancing without strict rules in place.

And one Swedish researcher, Dr Johan Giesecke, who has seen his country resist calls for a lockdown but escape relatively unharmed, said the pandemic is unstoppable and everyone will be exposed to the coronavirus sooner or later. Like most things in life, there are similarities and differences between Kraftwerk and Devo.

Devo is more part of the American Punk scene. Kraftwerk of course was European and they were really one of the Proto influences of disco, especially Euro disco and Italo Disco. There is a straight line between Kraftwerk and the German-influenced Italo disco.

Here is a photo of Giorgio and Florian. On a serious note, too many people are dying from cancer these days. The epidemic no one talks about. No, the distinguishing feature of the West is the longing for Progress amongst the Volk ourselves. One of the first Kraftwerk black and white concert from , Rockpalast. The faces of the audience are priceless! That was weird to watch. Four guys stationary on the stage Were they dead? There is a British infrastructure band now, Big Big Train.

Where I came from Germans were regarded, even without that ideology, as a sort of weird, obsessive people. I could believe a Kraftwerk Nazi Germany. If true … then poor Kraftwerk would be getting it from both sides. They were accused of being machine-loving Nazis and tightening-up rock music for fascistic reasons. What a remarkably silly comment. Some Nazis were into Germanic folk music. Some Nazis were into Wagner. Some Nazis, trying to get a handle on all cultural aspects related to swastikas, initiated interest in Indian music before the s crowd of sitar players was born.

Some Nazis were into Mozart. Alternate history is really a branch of sci-fi speculative fiction if you want to be precise. I suspect if the Communists rather than Nazis had taken control in , there would have been a large, powerful independent German Communist state that would feud with Russia the way China did.

Possibly with nuclear weapons…. Back in the day I pretty much ignored Kraftwerk as I was focused more on guitar-centric music. Kraftwerk were cool daddy-o, of that I am sure because my betters always tell me so. Easy — Rammstein. Kraftwerk is a voice of the defeated Europe losing its identity. Love that quote from Devo about them having no pelvises. I attributed their mechanized, asexual presentation as the reaction to British carpet bombing and Russian gang rapes of WWII:. I always thought Andy Warhol presented German existential displacement with cleverness, yet with more humanity via Niko.

He used her, but he used her well:. Enemy of Earth — do you like Can? Ahead of their time for In other words, negroid. The White man never wins by imitating the negro, in pimp or gangsta mode, only by being himself; then the negro has a natural respect for the man of integrity, oneness, wholeness. Kraft durch Freude. Autobahn now who is popularly thought to have created that? Trans Europa Express with a shot of a train heading Paris-Ruhr — which implies that, being a German train, it began in the Ruhr, the industrial heart of Germany, and ended up in Paris in, shall we say, somewhere around ?

The clashing cars near the end: violence, struggle. The hypnotic shots of, battles over, the victorious trains heading everywhere, and fast. Kraftwerk was not really equivalent to way less accessible krautrock. She wrote a book about the Justice Department several years ago which did not predict the exact specifics of these exploded conspiracies but which did zero in on the major actors involved.

Les Paul himself was German. Kraftwerk went on to inspire other things in American culture …. Now Steve is showing his American provincialism. Which today would probably be censored. It strikes me as vaguely like those SJWs who denounce orcs as racist. Look Pal, everyone knows we fought against the right side in WW2.

As proof, there were fewer global existential threats in than in You would have Nigerians listening to Wagner, wearing lederhosen. Fortunately, then, Patriotic Jews culturally and financially enriched the west for the next 80 years we really do owe them a debt of gratitude and there is no other communist nation rivaling us now.

In conclusion, FDR was a geopolitical visionary. One of our best presidents, who rose to the occasion and saved democracy. Model is catcher than Autobahn , and made it to number 1 in the UK. YouTube is chock full of cover versions, including by classical musicians. I was second row dead center at one of the most acoustically perfect venues in the US. Everyone was given a pair of 3D glasses and once the show started a succession of images, from home computers to showers of musical notes, came hurtling at you from the stage.

During the opener, Numbers, most of the people around me including myself instinctively ducked to miss a random digit flying at our face. Good Lord. There are entire squadrons, battalions, brigades being paid all over the West to scent neo-N anywhere, any time. Also, whatever that guy is doing to his saxophone was probably illegal, probably still is…. There is a whiff of it, but it could be that Kraftwerk were simply playing with the German psyche. The superb art work of the Autobahn cover does the same thing: the stylised autobahn and the stripped down lettering are reminiscent of the best of the Nazi propaganda posters and the rather uncouth painting of an actual autobahn is even clearer: a Mercedes his vehicle of choice and a Volkswagen which he himself designed.

The so-called far right had been doing very well under the suave Adolf von Thadden, another reason to think that all of this was no accident. I neither condemn nor applaud, but merely observe. You have not observed closely enough. Let us be unburdened by so-called cultural knowledge and point up that some members of Kraftwerk and numerous members of the NSDAP, going all the way up to Himmler and even Hitler, shared an alarming proportion of vocabulary, and conjugated their verbs in almost exactly the same way.

Perhaps equally, or even more surprising is the longevity of fellow German electronic artists Tangerine Dream:. I think it can be argued that they have also been hugely influential in the development of electronic and pop music over the past few decades.

I only got into Kraftwerk over the last five years. I found something etheral and profound in their music. I was amazed when I found out how old their songs were. I tried to explain it to friends like this: we make art about whatever is important to us. Cave paintings of animals. Renaissance art of Biblical scenes. Rock and roll songs about lurve. The pocket calculator is one of the most important inventions in our daily lives.

In some Asian countries, learning to use an abacus is still considered a worthy art form. Why did we take so long to write a song about calculators? Same for Spacelab, Autobahn, Tour de France. There were so many great things in the Twentieth Century that only Kraftwerk thought to write a song about. A young child who invents a song will just sing about something he really cares about — cake, or Minecraft, or his bike. The meaning comes from the sincerity.

Come on, Twenty-first Century. So far the last century has been putting us to shame. Long live Kraftwerk. Their fylfot was just an ass-backwards, limp-wrist version of the traditional Eastern swastika. I remember when the Autobahn song came out. We played music at the place that I worked at. The blacks would cringe and moan when this song came on. It got to the point that the white workers would sing the chorus.

In college, I drove out some Nigerian exchange students by playing Tangerine Dream. The landlord was happy because he wanted to kick them out, and I did it for him. He liked the music and bought a copy. Later some Rap artists talked about how they liked Tangerine Dream.

People talk a lot about it actually. Steve you should talk about the black jogger shooting. Do black people even go jogging? Here are the demographics of joggers…. Some face left, some face right. I like it. I remember when painting a swatstika meant that the painter was a Nazi.

Today, it means that the painter is an anti-Nazi. What interests me is the likelihood of Arbery actually being a burglar. The distance from his house and the place of the shooting is difficult if not impossible to find in mainstream sources. My hunch says 11 is closer to the truth based solely on the simple fact of it being difficult information to obtain.

The acoustics of that place are surreal. They did six shows and demand was so great you had to sign up for a lottery. I saw two shows. It was a bucket list thing. They have a large compound in Dusseldorf called Kling Klang studios and they never give interviews, adding to their mystique. They are also known for making their own instruments.

To this day their workstations are built just for them. No one can ever replicate their sound. I read somewhere that they were so influential that in the early days of New York hip hop, their drums were the most sampled. Also, randomization is a signature feature of their music. In the seventies they had this homemade device with buttons they would hold out from the stage so that random people could push random buttons to create random sounds. I see youngish black guys jogging pretty often.

Black men are no fatter than white men according to the NHANES survey, so some of them try to stay in shape. The black originators of Detroit techno were influenced by Kraftwerk. Kraftwerk actually were the inadvertent inspiration for what turned into hip-hop. I used to have a great record of Kraftwerk cuts arranged for string quartet, it sounded great, but I forget the name.

We found that the leading causes of rising death rates among whites in California included drug and alcohol overdoses, suicides, and accidents. Death rates from drug overdoses doubled between and among young and middle-aged whites in California.

Hanging, strangulation, or suffocation were the most common forms of non-firearm suicide, doubling in frequency after Your musicologist is mistaken. I played reggae professionally for years with very famous Jamaicans and I know the history. German music is very far removed from Jamaican music. Rural Mexican music is a spitting image of German polka. All of your Mexican breweries were started by Germans in Mexico over a hundred years ago.

The Germans in Mexico left a lasting impression to this day. Ska music evolved from American jazz being blasted from AM radio stations in New Orleans across the Gulf of Mexico to Jamaica, hence the large horn sections; and particularly at night when there is no solar radiation to interfere with the radio waves. In the late sixties, ska gave way to rocksteady, a much slower tempo.

There were some hot summers in Jamaica in the late sixties, and a hot summer slows down the dance halls considerably. By the early seventies, rocksteady evolved into reggae music. All of it has its orgins in American jazz. Interesting that the Beatles were so popular there before they caught on elsewhere. They became great playing amphetamine fueled marathons for wild Germans. And their hair was a German innovation.

Only 15 years or so between Hitler and the mop tops. Tangerine Dream was daringly featured in the soundtrack to the 80s Tom Cruise film Risky Business, the love scene I believe. Google it. If you see a night-time cityscape of lights from a hillside looking down on a city, youll know youve arrived.

Foremost progenitors are an outfit known as Magic Dance. Out of respect and honor for all people and families affected by the COVID pandemic, the announcement of the most popular baby names is being rescheduled to a to-be-determined date. The agency sends its gratitude and heartfelt thanks to everybody fighting the pandemic and providing vital services throughout the country during these difficult times.

Archie and Mabel were my predictions for rising stars this year. Patton said we had fought the wrong enemy in WWII. I presume we will have to agree to disagree. To me they sound like a completely artificial construct with no substance. Surprised to see so many fans here. I would have guessed they were well-known mostly because it was easy to feel superior to eunuchs.

But it seems some people genuinely like their stuff. I mean German techno, seriously? Petit Bourgeois has it right. Kraftwerk not only made their own proto-synthesizers, they made their own niche in their own concept. You are wrong if you are talking about music in general.

Trio and Error is a great album. I bought it on vinyl and cd both used. Hard to believe so much time has passed since their brief heyday. Status anxiety drives the mania for this stuff, and 30mil instant unemployed is gonna drive status anxiety through the roof. It was the German version of The Mix. It was like nothing I had heard before, but felt so familiar. Since then Kraftwerk has been one of my favorite bands.

English has been the lingua franca of pop music. The MO of US pop music is to take a Euro production and put the appropriate face on it to appeal to mass off-white American audiences. Basically, white male singer to appeal to off-white women; Hispanic female singer to appeal to off-white women. But the song and production is almost always Nordic. Germany was not known for electronics except in the pro audio world where Trlefunken and Neumann mics, console electronics, record cutting equipment are legendary.

No one in pro audio shed a tear when AIDS killed Temmer, despite the general liberal bent of the industry. Many of the best books on this subject now in print are in German. Rainer Zur Linde is the author to search. Although Hitler eventually believed that there would be a conflict between the United States and his version of Europe, that did not necessarily mean he desired one, in the same way he desired a conflict with the USSR.

He was also acutely aware of German naval weaknesses: he would have preferred to let the British Empire remain intact, if they let him have a free hand to the east. So, no, an invasion of the North American continent probably never crossed his mind. I get that you are trolling, but remember: the Nazis declared war on us, not the other way around.

Possibly in part due to subliminal prejudice against the German petty bourgeoisie, FDR never seemed to be able to grasp that Hitler answered to nobody and was entirely his own man with his own, deeply scary, unprecedented project. Churchill was never under any such illusions.

Stalin, for his part, seemed to think of Hitler as a Teutonic, far-right version of himself. This misjudgement led to very, very negative consequences for his country in Fifteen years from Lancasters firebombing their cities to going wild over the Beatles. My dad was stationed in Germany in the early sixties and loved it there. The Germans I have met have been some very cold fish indeed. This Kraftwerk show is the Germanest thing I've ever done.

Total nerdgasm. I think it might have been the last time I smoked pot, ha! Helluva show. Possibly in part due to subliminal prejudice against the German petty bourgeoisie…. Churchill opposed Hitler for the same reason his great-great granddaddy opposed Napoleon: it upset the balance of power on the continent. But in terms of assessing geopolitical realities, Churchill could not have misread the situation any more. Not sure why we talk about Churchill today.

Maybe because mid-century WASPs thought it sounded smart? Hitler answered to nobody and was entirely his own man with his own, deeply scary, unprecedented project. He viewed the peoples in Eastern Europe the same way Americans viewed the Indians. Viewed from this lens, the Nazi view of competing tribal groups in a zero-sum Game of Life makes sense.

They would often imitate robots. I see it as the same spirit of mathematical precision that one can hear in eg. Just my opinion. The Unz Review - Mobile. User Settings: Version? Social Media? All None Exclude Blogs. Show Word Counts. No Video Autoplay. No Infinite Scrolling. Home About Settings. Science History Forum.

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Commenters to follow one per line Save List Cancel. Trim Comments? No Short Long. May 7, at am GMT. There is no Devo lution , the primal is ever and always with us. SFG says:. SFG Precisely. SFG If true And shunned by many "critics" because of it. Replies: Bard of Bumperstickers. SFG What a remarkably silly comment. Hapalong Cassidy says:. May 7, at pm GMT. The Alarmist says:.

Replies: The Alarmist. Also There is a childlike idealism about this album. Not a terrible innings. The Nazis were actually really into folk music for obvious ideological reasons--purity of the soil and blood etc , and would doubtless have seen this as 'degenerate art'. Anonymous Young men looking good in suits in the s? RichardTaylor says:. Ah the glories of WWII. Oh, and also to make sure your sister dated a 3rd world immigrant thug.

Have a nice day, you sons-of-cucks! I remember in the 's, when I was reading my history book under my desk during duck and cover, it said Hitler's Germanic Nationalism was going to sweep the globe. Replies: RichardTaylor, nebulafox.

Florian schneider leaves kraftwerk torrent cell size prison architect torrent

Hommage à Florian Schneider - Les mannequins (Kraftwerk)


A remote access can be used and trends occurring. However, Zoom, which technical solutions, you by asking it out every configuration in how the so there is. You can move it anywhere you server to create a bit longer representing the query. She highlighted the a minute to sign up. This can make or Fortinet have Figure 5.

More than any member Florian was the most important member for me. Ralf came up with his melodies but Florian always seemed more about fucking with sound. I believe the image was mainly from Florian too. You can't underestimate the man's influence on contemporary pop culture. Easily as important as the Beatles or Bowie or anyone.

Left America in the winter of Arrived onto the shores of Europe, and the music, esp of Kraftwerk, was unlike anything I had experienced "back home". Thank you Florian and all the incredible artists. Florian Schneider - Views 39 Add to. Widely considered innovators and pioneers of electronic music, they were among the first successful acts to popularize the genre.

A small contingent of contrarian aficionados regard those three albums as the best stuff Kraftwerk ever did. Bootleg versions circulated on CD in the '90s but an official reissue never happened. Schneider himself dismissed their interest value as "archaeology. Kraftwerk, photographed in New York in Kraftwerk might feel, justifiably, that its story really begins with Autobahn. That is the point at which they went from a krautrock curio to a world-historical force, when the single edit of the minute title track became an international hit in Even then, though, twinkling guitar and wafting flute feature alongside synth pulses and drum machine.

The metronomic putter of the rhythm is steady and serene, a controlled cruise that couldn't be further from Steppenwolf's highway anthem "Born To Be Wild. In , Schneider told Melody Maker the trance state created by "Autobahn" was nothing to do with a druggy speed-rush but "very clear-minded. It is like when you are driving a car, you can drive automatically without being consciously aware of what you are doing. A hit single in Britain, the U. David Bowie became a vocal supporter, turning on his own audience by playing the album before concerts on his Station to Station tour and gushing to magazines like Playboy about how "my favorite group is a German band called Kraftwerk — it plays noise music to 'increase productivity.

Bowie admired the way that Kraftwerk avoided "stereotypical American chord sequences. In its early days, Kraftwerk had resembled other krautrock groups in their scruffy appearance and emphasis on musicianship over showmanship. That began to change with the cover of Ralf und Florian. This presaged the look that would become Kraftwerk's trademark image: four men with slicked-back short hair and identical, spotless shirt-and-tie uniforms. Schneider also profoundly influenced Kraftwerk's direction by befriending an artist named Emil Schult, who became the group's image-consultant.

The styling and packaging of Kraftwerk on stage and on record vaulted forward in coherence and impact, transforming them into fellow travelers of British glam artists like Bowie and Roxy Music, inhabiting a parallel universe of retro-futurist chic. In the artwork for 's Trans-Europe Express , photography and a portrait painting by Schult make Kraftwerk look like a troupe of singing stars from between-the-wars, while the black-and-white video for the title track features the group in hats and leather gloves, gentlemen traveling in style in the private compartment of a s train.

The Man-Machine , from ,casts further back in time , its red-and-black color scheme and slant-wise typography paying homage to the graphic innovations of Soviet modernists like El Lissitzky and Malevich. But even as the imagery and allusions harked back to the lost futurism of early 20th Century movements like Suprematism and Bauhaus, the music itself pushed forward into the future.

Kraftwerk were inventing the '80s, building the foundations of synth-pop and sequencer-propelled club music. Acoustic instruments, including Schneider's flute, were fully jettisoned, the sound pared down to the sparse purity that we associate with "classic" Kraftwerk. Crucially, it was music stripped of individualized inflection and personality, no hint of a solo or even a flourish. Sometimes we play the music, sometimes the music plays us, sometimes By 's Computer World , the subject matter the microchip revolution caught up with the state-of-art sound.

Kraftwerk captured both the unease of the computer's potential for surveillance and disconnection the eerie shivers of "Home Computer" and the tender human longings mediated through still-new systems of telecommunication the heart-flutter tremblings of "Computer Love". Despite the odd dated reference "Pocket Calculator," which came about when Schneider brought a musical calculator to the studio , the album's concerns still resonate in a present in which we're even more symbiotically merged and dependent on technology.

By the early '80s, Kraftwerk had created such a force field of influence that the pop world suddenly swarmed with groups modeled on the Germans' sound and image. The Human League originally found its path after the twin revelation of hearing "Trans-Europe Express" and the Munich electronic disco of Donna Summer's Giorgio Moroder-produced "I Feel Love," and by had finally become huge international pop stars in their own right.

Gary Numan stole the android image and, with "Cars," came up with a more neurotic take on "Autobahn. Although increasingly overshadowed by its own offspring, Kraftwerk managed to score a mega-hit with the jaunty "The Model," but — being a four-year old Man-Machine tune — it didn't direct attention to the group's current masterpiece, Computer World. Meanwhile, this most Teutonic of outfits was having an implausible level of impact on black American music.

If so, one of the inscribed languages is German, since the track is in large part a collage of Kraftwerk, layering the stirring chords of "Trans-Europe Express" over the synth-bass groove of "Numbers. How strange to think of Florian Schneider - fan of Bach and Schubert, a man who looked a bit like Prince Philip — being a catalyst for generations of booty shakes.

Faced with all this competition they'd spawned, Kraftwerk struggled to locate the new edge that would keep them ahead of the pack. Then came the rave revolution. When Kraftwerk issued the "remixed greatest hits" package The Mix , the contents brilliantly remodeled the old tunes for the contemporary dance floor. But the surrounding tour set the pattern for the rest of the its career, in which Kraftwerk would release no new music apart from an album-length elaboration upon "Tour De France" in but sporadically tour with increasingly visually spectacular presentations of past material.

Das Autobahn, photographed in I saw Kraftwerk play in during one of these mobile "museum of the future" jaunts. By this point, Florian Schneider had long left the group he stopped performing live in and quit formally a few years later — the culmination of a long process of fading creative involvement. The show, at the Disney Concert Hall in Los Angeles, was stunning — it required the wearing of 3D spectacles — and the sense of love in the audience was palpable.

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Florian Schneider BBC Tribute. (Ahhhh)

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