Author Topic: Kraftwerk  (Read 12432 times)

Offline El_Macca_17

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Re: Kraftwerk
« Reply #120 on: July 9, 2009, 01:45:38 am »
Hutter interview on The Culture Show on BBC2 this coming Wednesday.

http://www.bbc.co.uk/programmes/b00ln5lh

Thought it was a bit odd Ralf consenting to a face to face interview, not what Miranda was expecting either:

http://www.bbc.co.uk/iplayer/episode/b00ln5lh/The_Culture_Show_2009_2010_Manchester_International_Festival/

Starts just before the 19 minute mark.
"The future's uncertain and the end is always near."

Offline Dam Sodd

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Re: Kraftwerk
« Reply #121 on: August 1, 2009, 02:09:19 am »

Denmark 2 weeks tonight. Tosca & Electrojuice in support. Cant wait!



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Offline El_Macca_17

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Re: Kraftwerk
« Reply #122 on: August 9, 2009, 06:00:01 pm »
Remasters due on the 5th of October according to the Dutch EMI catalogue:

http://www.emimusic.nl/external/microsites/Catalogus/binnenkort.html

8CD boxset too........
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Offline El_Macca_17

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Re: Kraftwerk
« Reply #123 on: August 12, 2009, 11:27:09 pm »
Looking at that list again, I take it Techno Pop is Electric Cafe under another name?
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Offline El_Macca_17

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Re: Kraftwerk
« Reply #124 on: August 20, 2009, 06:54:48 pm »
Answering my own question, yes it is.

More details on the Remasters now up:

http://www.kraftwerk.com/info/de/CD/katalog.html

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Offline Dam Sodd

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Re: Kraftwerk
« Reply #125 on: August 20, 2009, 11:03:12 pm »

check Sodd's human air horn 57 secs into this

http://www.youtube.com/watch?v=JQjb0YRqKZs



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Re: Kraftwerk
« Reply #126 on: September 26, 2009, 06:19:31 am »
check Sodd's human air horn 57 secs into this

http://www.youtube.com/watch?v=JQjb0YRqKZs






ha ha well in.

I went to a concert last weekend and the sound gut  played computer love between acts, on the sound system it fucking blew me away, on the list now to see live.

boss album.




Offline rafathegaffa83

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Re: Kraftwerk
« Reply #127 on: October 27, 2009, 01:22:30 am »
Europe Endless (Europa Endlös) is a superb track. Definitely the template for countless New Wave/New Romantic acts.

Offline rafathegaffa83

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Re: Kraftwerk
« Reply #128 on: November 9, 2009, 03:32:53 pm »
New interview with Ralf Hütter in Pitchfork

Quote
Kraftwerk
by Mark Richardson, posted November 9, 2009


With Kraftwerk, there's always been an interesting contrast between their live show and the rest of their career. Their concert performances are hugely entertaining revues, crowd-pleasing events that value immediacy over mystery. Everything you need to know-- the brilliant songs, beautiful sounds, well-designed projections, and, lately, 3-D imagery-- is up there onstage. But the personality of the band away from the stage has always been hard to peg. Part of it is that Ralf Hütter prefers to let the work speak for itself. He doesn't do many interviews, and when he does sit for one, he never seems to give too much away. And part of it is up to the working methods of Kraftwerk-- toiling away far from the public eye for years to realize each new project. People wonder: "What are they up to?" They are working. Someday we'll find out what, exactly, they are working on.

This is a big year for the legendary group, marked by the full-scale remateri/reissue of their catalog from Autobahn forward, both as The Catalogue box set and individual albums. It was a typically long road for The Catalogue-- the set first seemed on the verge of coming out five years ago, and was beset by a series of confusing delays. But now that it is finally available, Hütter has been ready to talk about his band and their legacy. We spoke to him by telephone while he was visiting London. He seemed relaxed and certainly came across as friendly and approachable, happy to speak about his band's past work even while he remained fixated on the future.

Pitchfork: Thanks so much for speaking with us. I know you're busy.

Ralf Hütter: Yeah, we just came back from a festival [on the] Isle of Wight. "Bestival" is what it's called. We played Saturday night. Fantastic. It's in the countryside and the audience-- Bestival always has a special theme. This year was "Space Oddity", so everybody was dressed up in space uniforms or self-made combinations of space aliens and things like that. Very good. When we appeared with our neon suits, they went wild. It was sunny and the moon came out, and there was no wind, and the sound was just excellent. A wonderful situation.

Pitchfork: Are there any particular challenges for you in having an outdoor show, with all the multimedia that you have?

RH: Yes. I mean, technically, it's not always easy, but we managed in Denmark [at Randers], and we also played a small outdoor venue where we did our 3-D projection show. We give 3-D glasses for the audience. But we couldn't do that here in the festival; it was too many people, and they just wouldn't allow that.

Pitchfork: How did the 3-D aspect of the show come about?

RH: Our music is always, as you know, very spacey-- computer graphics, music, images, lyrics, and visual art we make ourselves, or that we make with artists. And it's all synchronized. The premiere was at the Volkswagen factory when we played there in April. It went so well that we decided to do it again in the summer when we played for the Manchester Velodrome, where we had the British Olympic cycling team riding on the track and then later during the show, after our robot performance, we continued about five or six compositions with 3-D graphics and the audience put on the glasses. It was fantastic.

Pitchfork: Was the cycling team performance something that had been in the works for a while?

RH: Yes. When were invited to join the Manchester Cultural [International] Festival, and then they said that the concert would happen at the Velodrome, so it was quite natural to combine the two elements. Then we brought the idea and the festival director organized the connection with the British Olympic cycling team because they trained on the Velodrome track. It's the fastest track in the world and their trainer is a German guy. And then luckily enough, the next morning we came back to do a training session. It's different, because the curves are pretty high so we took about some time to turn the circle around and then maybe pick up some speed and go up the curve. Quite a different technique.

Pitchfork: Do all four current members of Kraftwerk cycle?

RH: Yes, but one guy, he works too long so he was still sleeping in the morning when we had to get up at seven.

Pitchfork: The Catalogue box is something that's been in the works for some time. What were some of the issues that caused it to be delayed, and how are they resolved?

RH: I was involved in going through the visual archives from the printing studio, the old photographs and the original prints of the original designs for drawings and ideas for the original cover. And that wasn't really fully worked out when The Catalogue was announced in 2004. We put out a little promo box, and then we toured quite a lot around the world over the last five years. But in between, we went into the archives [and] saw some of the artwork that was never publicized or published in this quality. And there was always something missing or we were not able to do the whole photo as it was planned. So now for the first time, you will see the original artwork in the way it was visually composed by us at the time. All original graphics and more photographs and drawings. And of course, they have been mastered and upgraded for 2009 mastering techniques. So it's all up-to-date and we're very happy with the outcome of everything, so now for the first time you'll see Kraftwerk in the album packaging as it was, complete.

Pitchfork: With the original issues of the albums, why were you not able to realize your vision of it at the time?

RH: Well, it was foldout covers or not so many photographs or print allowed or the colors were messed up. So many mistakes. Like in America, they changed the folds from left to right. Things like that. There was just always so much bad quality and the CD was scanned down from vinyl so there was never really high quality involved. We were not really in control of that at the time, but now for the first time, we have been able to put everything together and then add those drawings or photographs or images or paintings that were not possible for us to put them in the album at the time, in the 70s.

Pitchfork: Is it pleasurable for you to return to your previous work, both in listening to the recordings again and going--

RH: Yes, because they are part of our life repertoire. As you know, we play "Autobahn" and "Radioactivity", so it's a continued process: The Man-Machine, Computer World. It's all part of our musical past and present, and therefore the images are part of our live concerts, and now we put them into the box set and the artwork of the individual albums. It's a great pleasure to put it finally together and to make it available.

Pitchfork: Does it evoke specific memories for you when you're listening to old recordings and remembering the times that you were assembling them?

RH: No. It's part of my memory, so it's all present in our live performance. And we have also transferred all the very old Kling Klang archived analog tapes onto digital format for live computers. It's not discovering anything from before; we're mainly putting this together in an accurate production process.

Pitchfork: Of course, the main issue of the box, The Catalogue, is on compact disc, but there are also LP vinyl versions. Do you have any thoughts about the format of releasing music in this era?

RH: No. For me, the music is immaterial: It is sounds and visions. We have gone through many different formats, from vinyl to audiocassettes to 8-tracks to CDs and now downloads. And of course, live Kraftwerk. The Man-Machine is a live electronic music machine. For me, the music is spiritual and I think comes to life when we perform it in concert.

Pitchfork: One thing that really struck me about your live show was the quality of the sound at the concert: It was very, very high quality.

RH: Yes. And as you know, we use the original sound from the different periods, from the early mid-70s from our Kling Klang archives. And then we modulate, and we work with the original sources. From there, our compositions are like scripts: film scripts or action scripts. And we can work with this. "Autobahn", we can do five minutes, or change the speed, or play it 10 minutes, whatever. And most of our compositions, they are like endless scripts, so they can be changed and improvised and numbered. So there's always so much for us to do.

Pitchfork: I know that in the early days, in the 1970s, there was, because of the limitations of technology of the time, it was difficult for you to realize live performance in the way you would have liked. Did you have a vision back then that it would be a multimedia show?

RH: Yes, we started this way with our friend Emil [Schult], who was a painter, and then Florian [Schneider], who had a very good drawing hand, and then myself, I am very interested in photo and drawing. So we combined these elements of the vision and we used slides in those days, and the projections, but of course, nothing like the technology that has been available for us today. So we have been very lucky that the technology developed in our direction.

Pitchfork: Did you have a sense then that things would go that way eventually?

RH: More a hope. We recorded Computer World and we didn't have home computers at that time. It was the 80s when the album came out and they were not available to us. I think we always involved in our music and conducting, integrating this technology into Kraftwerk, into the Kling Klang studio, and then the Kling Klang studio live. The combination of man and machine. So for us, it was a continued process.

Pitchfork: Was there, when you were a young person and you were first seeing live music and performing live music, perhaps in the late 60s, was there anyone you saw that was an inspiration for this kind of multimedia show?

RH: No, nothing special. I think it was more like an awakening in the late 60s of the whole living situation-- the German word is einfach musik. Everyday music, like-- it's more like discovering the tape recorder for us. Like, the world of sound: Everyday life has a sound, and that's also why our studio is called Kling Klang studio because "kling" is the verb and "klang" is the noun for "sound." So it means "sounding sound." That's really what Kraftwerk is about. Sound sources are all around us, and we work with anything, from pocket calculators to computers, from voices, human voices, from machines, from body sounds to fantasy to synthetic sounds to speech from human voice to speech synthesis from anything, if possible. We don't want to limit ourselves to any specific sound like that was before when we were brought up in classical music. Then it had be strings, it had to be piano, blah blah blah. We wanted to go beyond, to find a new silence and from there to progress to continue walking into the world of sound.

Pitchfork: Kraftwerk exists as not just an art object, like in a museum, but there's always an element of popular culture, where it's received by large groups of people. This is opposed to some people, who experiment with sound and they might do a sound installation in a museum. But it seems like there's always been a popular element to what Kraftwerk does.

RH: Yes. That developed for us, when we started in the late 60s in art galleries and student clubs, there might have been 50 people or whatever, and it just developed this way. Then in the early 70s and with Autobahn, suddenly the world was-- it was possible for us to tour around the world. Well, in France, Italy, and America. And then from there on, it was for us like a vision of electronic music as a universal language. It became our reality.

Pitchfork: Something I've always found interesting about Kraftwerk is that even when your music is electronic music and it's, as you say, immaterial. It sort of exists independent of physical formats. There's always been a strong feeling for the body in your music, that there's always a physical manifestation of it, whether it's through dancing or inspiration in something like cycling. Is that, the interface between electronics and the human body, is that of particular interest to Kraftwerk?

RH: Yes, I think that's best expressed in the words the "Man-Machine". It's this combination of human sounds and machine sounds, so as you probably know, electronic music has been very, very intellectualized in the 50s, 60s, or whatever, and I think we always felt strong elements ourselves of these machine rhythms, repetition and charm. Like the motor humming on Autobahn, radio waves playing in fantastic melodies in the air. All these ideas have been in our minds and we try to combine them into the different albums.

Pitchfork: Do you find that your thoughts on the "Man-Machine" change as you age at all, and all of our bodies are getting older? Does that have any influence on your thoughts on the "Man-Machine" concept?

RH: No, not really. We do cycling and exercise, so we are in very good shape. And we just continue; we'll have to see.

Pitchfork: What about the interface between electronic instruments and the body? Are there any limitations between making music-- today, you use a laptop computer and you use a keyboard, as opposed to years ago maybe you would have used an organ or something that had a different physical interface. Are there limitations with the current state of technology?

RH: Well, I think that technology has developed a lot in more directions, where now it's more mobile and we have all our music on laptop computers. We can travel, and we can work, and there's not so much time lost on set-up and putting the cables into place, all this old analog equipment that needed a lot of attention or set-up time. So now, for us, we have much better tools to work with and when we travel, we can work in the hotel, we can go still...how do I say this...a lot to come? We are looking into the future.

Pitchfork: Do you still personally play traditional instruments, like piano?

RH: No. I have my keyboard and I have-- because that's my working instrument, keyboards. But I'll use switches and faders and mouse, so I'll use anything. But my main instrument is keyboards, so I play any sounds I can trigger from there.

Pitchfork: Do you remember when you first encountered a synthesizer?

RH: I think we heard synthesizer sounds in the mid-60s, around that time. And through our cultural situation, radio from Cologne and electronic music-- well, probably mid- to late-60s, as students. We didn't know exactly which instruments were used, and then I think synthesizers came around at that time. I bought mine, I have to think...maybe 71, 72, around that time. [Synthesizers were] used for film music, and then we discovered that might be interesting for me. But I also worked the human voice and speech and language and poetry. It's kind of a concept of making my fingers sing.

Pitchfork: To speak of the first album in The Catalogue set, the song "Autobahn". People have mentioned the Beach Boys as something that sounds like it could've possibly been an inspiration for the chorus of that.

RH: No. Not really. It's more-- it has been misunderstood, but it's more like a cultural photograph. Like, say, you have the Beach Boys from California, but from Germany you would have Kraftwerk, a song about the Autobahn. It's the language of German electro music, and within our language, developed from our mother language...[begins singing "Autobahn"], so this strong quality and the motors are being tuned, and the tires are-- whatever, I don't know the English word for the noise they make. And we try to incorporate all kinds of elements.

Pitchfork: Is there anything you can tell us about any new music?

RH: No. What we are...within the near future doing more sessions in the studio, and continue working and see that we create a new result. The Kling Klang studio is our instrument. It's not that I play the piano, and he plays the flute and another guy plays the drums...with the Kling Klang, we play the studio. That's coming from the late 60s, right around 1970, when we set up the studio and Kraftwerk. That is our instrument. So we'll use any sound source we feel is relevant for this composition. And now the music is mobile, because during the concerts we play basically studio. I compose anywhere. I compose on my bike, like the Tour de France, I compose in the Trans-Europe Express, or at home, in the car. It's not really, like I have to sit at the table and get some paper. I don't compose on paper. I compose in my mind and in my memory, and also we compose by accident in the studio. So anything is possible.

Pitchfork: So Tour de France was actually written while you were cycling, or some ideas came from when you were on your bike?

RH: Of course! And once the idea is there, you just bring in all the experience and all the ideas you have from years of cycling. I also wrote German lyrics at one point; we recorded those also, but in the end they just didn't really fit because of the spirit of the song is the Tour de France, and I speak French, so we just kept the French lyrics that I wrote. The lyrics have the goal of camaraderie, amitié-- that means comrade and friendship. So we had no really special...I think the main idea is what I call the 168-hour week, where ideas are allowed all the time.

Pitchfork: What about the place of humor in Kraftwerk's music?

RH: It's really good humor, I think it's also very serious. It's simultaneous. So I don't know; I can't express in words, but it's in the music, and it's in the words, and I think people understand. It's also what I call "black humor", because we wear black shoes.

Pitchfork: Could you ever see the earliest Kraftwerk material being reissued?

RH: Yes. We just haven't had the time, but unfortunately [the CDs] are in very bad quality and just bootlegs. So when we find the time in the near future, I plan to continue working on the old Kling Klang archives and restore the old tapes and the old artwork and find more artwork on these albums and make them available. That's another phase of our work. Like pre-Autobahn, before the idea of the "Man-Machine" came into existence, so to speak.

Pitchfork: That's possibly another piece of misinformation that's out there, that there's this idea that Kraftwerk likes to pretend that those albums don't exist.

RH: No! What can I say…we go through phases, like in art. The various first early phase, then the Autobahn, now the Kraftwerk phase...

Pitchfork: Do you have a desire to write a book about Kraftwerk?

RH: No. Everything stays in the music. I write lyrics a lot and I think in short, very short term, we use language, and basically, that says it all.

Pitchfork: Florian Schneider is no longer performing with Kraftwerk. How closely is it tied to you as a person, your personality? Is it something that could continue even without you, or are you the essential element of Kraftwerk now?

RH: I have no idea, but we'll have to see. I'm just continuing as always.
http://pitchfork.com/features/interviews/7727-kraftwerk/

Offline Hinesy

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Re: Kraftwerk
« Reply #129 on: November 10, 2009, 09:16:11 am »
Ha I love the fact they cycle. !
Yep.

Offline rafathegaffa83

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Re: Kraftwerk
« Reply #130 on: November 11, 2009, 03:39:03 am »
For the Kraftwerk fans in here, Mojo had a feature on Kraftwerk  in their November issue. Essentially, it is a twelve page interview with Ralf Hütter dicussing some of their recently reissued albums. The magazine also comes with a free disc collecting tracks including by bands of Kraftwerk's era (Tangerine Dream, Jean Michel Jarre, in addition to Kraftwerk's The Robots) and those influenced by them past (OMD, Ultravox) and present (M83, The Orb)

Offline rafathegaffa83

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Re: Kraftwerk
« Reply #131 on: November 11, 2009, 03:44:21 am »
Alan McGee puts in his two cents about the band for The Guardian

Quote

Kraftwerk: In praise of the electronic Beatles

This Fab Four, from Düsseldorf rather than Liverpool, created an entire musical genre with their pioneering sound. Now, the pop robots return with their classic run of albums remastered

Anticipation for the forthcoming Kraftwerk box set, The Catalogue, is understandably high. C'mon, it's Kraftwerk! In electronic music, they hold the same status and influence as the Beatles, creating a new vocabulary for artists to experiment with.

Kraftwerk famously came out of the German experimental music scene, which the music press later dubbed "krautrock", at a time when artists were creating work devoid of ties to Teutonic tradition. Inspired by the factories in their hometown of Düsseldorf, Kraftwerk were pragmatic about creating music. They wanted to be known not as musicians, but as workers willing to take music into the future.

The band's first three krautrock-influenced albums were powerful statements of intent. Unfortunately, we will have to wait a bit longer until Kraftwerk (1970), Kraftwerk 2 (1972), and Ralf und Florian (1973) are remastered. Instead, The Catalogue begins with Autobahn (1974), the first in a classic run of records that stamped their influence on the international music scene. And what music! Radioactivity (1975), Trans Europe Express (1977) and Man Machine (1978) all set Kraftwerk's music-as-revolution manifesto.

The money from the Autobahn hit single – which made the US top 40 after being edited down from 22 minutes to just four – afforded Kraftwerk the luxury of studio experimentation without any outside interference. It also allowed the group to close ranks and jettison all outside ties, a tradition that continues to this day – they have a legendary fear of press commitments and there is no way to communicate with their Kling Klang studios. No telephone, no fax, no reception. And as for letters? They're returned unopened. Kraftwerk evoke the isolation, boredom and monotony of existence by favouring an aesthetic detachment and a reliance on machines.

The release of Computer World (1981) – easily my favourite Kraftwerk record – provided a fitting end to their classic run of albums. Originally criticised on release as a minor achievement (critics expressed concern over the album's repetition and short length), its cold aesthetic provides a definitive statement on electronic music. Computer World a visionary look at how technology will prevail in everyday life and predates the Stasi-like barcode, and the online surveillance culture of Twitter, Facebook and MySpace. Even Computer Love was eerily prescient in terms of trends such as online dating.

Kraftwerk co-founder Ralf Hütter once published sheet music of Computer World in the Face magazine, with the aim of encouraging fans to form their own bands. Hütter even told interviewers that writing the album was easy and everyone should do it.

That said, it took Kraftwerk three years to release Computer World, and the long gestation periods between albums became a bandtrademark; their next albums were Techno Pop (aka Electric Cafe, 1986), The Mix (1991) and Tour De France (2003).

When you praise Kraftwerk's back catalogue, you're not just praising albums, but the language for an entire musical genres. They have influenced musicians as diverse as Juan Atkins, the Human League, Afrika Bambaata, the Flaming Lips, Aphex Twin, Depeche Mode, Ricardo Villalobos, New Order, and many others. It's almost impossible to overestimate Kraftwerk's contribution to modern music and life.
http://www.guardian.co.uk/music/musicblog/2009/nov/10/kraftwerk-electronic-beatles

Offline NineTails20

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Re: Kraftwerk
« Reply #132 on: November 11, 2009, 09:58:14 am »
I'm not a big Kraftwerk fan; I'm really only familiar with their 'popular' tracks. 'The Model', 'Musique Non Stop', 'Autobahn'. You'll only laugh, but I got interested in their music through Duran Duran. Nick Rhodes is a massive Kraftwerk fan. And at 11/12, when someone you admire makes reference to a band that they love, you want to check 'em out.

Another German band I really like are Rammestein; hoping they play Dublin next year.
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Offline rafathegaffa83

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Re: Kraftwerk
« Reply #133 on: November 13, 2009, 10:09:00 pm »
I never realized that Kraftwerk performed on the U.S television show "Midnight Special." Although this show is often referred to as the American equivalent of the Old Grey Whistle Test, its style was generally very mainstream American rock n' roll.

<a href="http://www.youtube.com/v/PJM9xpvMbJ0&amp;hl=en_GB&amp;fs=1" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">http://www.youtube.com/v/PJM9xpvMbJ0&amp;hl=en_GB&amp;fs=1</a>
« Last Edit: November 13, 2009, 11:50:49 pm by rafathegaffa83 »

Offline Mal

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Re: Kraftwerk
« Reply #134 on: November 13, 2009, 10:27:39 pm »
Listening to Neu now, it's been a real krautrock evening for me.

Reading this thread simultaneously has been fun. And it's made me want to see Kraftwerk more than is healthy...

I need to know if more UK dates are ever announced.
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Re: Kraftwerk
« Reply #135 on: December 15, 2009, 11:55:13 am »
I was spoiled on Sunday with an eight CD boxset with all the artwork for each CD in a seperate binder secreted delicately inside said boxset. Lush 8)

Nice one Ar Kid.
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Offline Veinticinco de Mayo

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Re: Kraftwerk
« Reply #136 on: December 15, 2009, 12:46:19 pm »
I was spoiled on Sunday with an eight CD boxset with all the artwork for each CD in a seperate binder secreted delicately inside said boxset. Lush 8)

Nice one Ar Kid.

Is jealous.
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Offline SamAteTheRedAcid

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Re: Kraftwerk
« Reply #137 on: December 18, 2009, 10:56:35 am »
I was spoiled on Sunday with an eight CD boxset with all the artwork for each CD in a seperate binder secreted delicately inside said boxset. Lush 8)

Nice one Ar Kid.

Amazing!

Can I recommend a book called 'Krautrock: Cosmic Rock and it's Legacy'?

From the relentless drum beating of Amon Duul, to the eastern-tinged mysticism of Popol Vuh and the sonic assaults of Conrad Schnitzler, 'Krautrock' traces the history of this phenomenon.

That's the blurb. Anyhow, it's a brilliant read, with band, label and producer profiles for all the main players (Can, Kraftwerk, Amon Duul, NEU!, Harmonia, Cluster, Connie Plank etc) and many more I hadn't heard of. Lovely pictures and lots of album covers to look at as well. Started reading it last night and stayed up till 2, late for work this morning so consider that a recommendation!
get thee to the library before the c*nts close it down

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Offline El_Macca_17

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Re: Kraftwerk
« Reply #138 on: January 16, 2010, 01:47:46 pm »
Documentary on Radio 2 tonight at 10pm:

http://www.bbc.co.uk/programmes/b00pzf3j
"The future's uncertain and the end is always near."

Offline GinKop

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Re: Kraftwerk
« Reply #139 on: January 16, 2010, 08:24:10 pm »
Documentary on Radio 2 tonight at 10pm:

http://www.bbc.co.uk/programmes/b00pzf3j

Cheers, will be tuning in to this if I can get my work finished.

Will have to ignore the fact it's by Cocker.
JFT97

Offline Filler.

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Re: Kraftwerk
« Reply #140 on: October 6, 2010, 11:03:31 pm »
Abba's 'Money Money Money' would be apt but had this tune on my mind today...

<a href="http://www.youtube.com/v/eSBybJGZoCU?fs=1&amp;amp;hl=en_US" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">http://www.youtube.com/v/eSBybJGZoCU?fs=1&amp;amp;hl=en_US</a>

Offline xavidub

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Re: Kraftwerk
« Reply #141 on: October 6, 2010, 11:28:23 pm »
Neon Lights is never far from my mind
You have to try very hard to see what's going on in front of your face

Offline rusty-la

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Re: Kraftwerk
« Reply #142 on: October 7, 2010, 11:52:01 am »
I was a lovelorn teenager when the 'Model' was released in the early eighties.

My favourite tune has to be 'Autobahn', you can hear the blueprint for so many of the 80s electro synth tunes that followed.



Offline Filler.

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Re: Kraftwerk
« Reply #143 on: March 29, 2011, 11:04:41 pm »
<a href="http://www.youtube.com/v/MXxLjhvoQSE?fs=1&amp;amp;hl=en_US" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">http://www.youtube.com/v/MXxLjhvoQSE?fs=1&amp;amp;hl=en_US</a>

The deep sounding vocals. Needs good speakers.  8)

Been listening to Electric Cafe today again. Often maligned as not a 'proper' Kraftwerk LP, or as a shit one (take your pick), but it's a gorgeous album. It seems to both embrace and revolt at the 80's at the same time. In comparison, well, it doesn't, but it's still very pretty.

Offline jaffod

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Re: Kraftwerk
« Reply #144 on: March 29, 2011, 11:12:40 pm »
Always remember a couple of beauts in school who thought they would look clever by making out they were 'into' Kraftwerk.
 Wrote it all over their exercise books, except they spelt it 'Craftwork' the fucking idiots.

Offline Filler.

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Re: Kraftwerk
« Reply #145 on: March 29, 2011, 11:20:14 pm »
Always remember a couple of beauts in school who thought they would look clever by making out they were 'into' Kraftwerk.
 Wrote it all over their exercise books, except they spelt it 'Craftwork' the fucking idiots.

Ended up becoming prominent New Labour spin doctors in manufacturing no doubt.

Offline rusty-la

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Re: Kraftwerk
« Reply #146 on: March 30, 2011, 12:03:18 am »
I was on a school trip in the lake district circa 74/75 and had a small trany radio and we where doing some school work in the evening and decided to listen to some music...so there I was moving the dial around to pick something up ... and through the AM crackle came .. "ba....ba..ba..autobahn".....I had tuned into the future!!

twenty years later I saw them at the Royal Court....and it still sounded like the future!!

Autobhan was, imo, there seminal piece. loved it

Offline elbow

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Re: Kraftwerk
« Reply #147 on: March 30, 2011, 02:31:42 am »
Autobhan was, imo, there seminal piece. loved it

That piece will always be the future.
We are Liverpool!

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Re: Kraftwerk
« Reply #148 on: March 30, 2011, 11:47:08 am »
<a href="http://www.youtube.com/v/MXxLjhvoQSE?fs=1&amp;amp;hl=en_US" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">http://www.youtube.com/v/MXxLjhvoQSE?fs=1&amp;amp;hl=en_US</a>

The deep sounding vocals. Needs good speakers.  8)

Been listening to Electric Cafe today again. Often maligned as not a 'proper' Kraftwerk LP, or as a shit one (take your pick), but it's a gorgeous album. It seems to both embrace and revolt at the 80's at the same time. In comparison, well, it doesn't, but it's still very pretty.

Ha! - was that my fault?

They still have the coolest site on the net. www.kraftwerk.com
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Offline Mal

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Re: Kraftwerk
« Reply #149 on: June 15, 2011, 09:51:23 pm »
Seminal moments in the history of dance music number 1.



The germinating moment for British dance music occurred, strangely, in a 1975 edition of Tomorrow's World, which featured four young Germans dressed like geography teachers, apparently playing camping stoves with wired-up knitting needles. This was Kraftwerk performing Autobahn.

"The sounds are created in their studio in Dusseldorf," presenter Raymond Baxter explained, "then reprogrammed and then recreated onstage with the minimum of fuss." Here was the entire electronic ethic in one TV clip: the rejection of rock's fake spontaneity, the fastidious attention to detail, the Europhile slickness, the devotion to rhythm. It was sublime.

When Kraftwerk toured Britain later in 1975, David Bowie's patronage ensured a long line of followers from OMD to Underworld. Not that everything they planned came to fruition. "Next year, Kraftwerk hope to eliminate the keyboard altogether," Baxter told us, "and create jackets with electronic lapels that can be played by touch". It could still happen.

From - www.guardian.co.uk/music/2011/jun/15/kraftwerk-tomorrows-world

Autobahn is, 35 years later, a classic, a monument to the road, 22 minutes that fly by with rare beauty.
@ManifoldReasons

Offline El Diablos

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Re: Kraftwerk
« Reply #150 on: June 15, 2011, 10:18:09 pm »
Sublime is correct.

I was 8 or 9 when i first started listening to them in 1978ish. Luckily introduced to them by another lad, just a few years older who now in hindsight seems amazingly precocious in his tastes. Over 30 odd years later Kraftwerk still sound as fresh, innovative, funky and beautiful as ever. I set up a 2 man tunnel tent in the garden the other day and me and my 13 year old boy sat in it, it was pouring with rain outside and as the raindrops beat a steady tapping drum on the roof we just sat and listened to Kraftwerk all afternoon. Radio Aktivat, Trans Europe Express, Autobahn, The Man Machine....endless endless.... Ace it was. He thinks they're cool. As a dad it was magical afternoon.

Offline CHOPPER

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Re: Kraftwerk
« Reply #151 on: September 30, 2016, 01:33:28 pm »
Tickets sorted(The Phil) for next years 3D tour. Buzzing is a slight understament.
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Offline John_P

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Re: Kraftwerk
« Reply #152 on: September 30, 2016, 05:05:12 pm »
Tickets sorted(The Phil) for next years 3D tour. Buzzing is a slight understament.

Got one for myself as well, can't wait!
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Offline CHOPPER

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Re: Kraftwerk
« Reply #153 on: September 30, 2016, 05:28:16 pm »
Got one for myself as well, can't wait!

Is right fella.


Gegenbuzzing! 8)
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Offline PROPER crazyemlyn72

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Re: Kraftwerk
« Reply #154 on: September 30, 2016, 09:04:17 pm »
would yis say that klopp is going?

Offline wz4jc3

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Re: Kraftwerk
« Reply #155 on: September 30, 2016, 09:20:39 pm »
Still absolutely gutted to have missed out this morning! 😰

[Nobody cares what phone you have and that you are using the free version of Tapatalk]


Offline Filler.

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Re: Kraftwerk
« Reply #156 on: October 1, 2016, 12:54:38 am »
Pleased for the successful applicants in seeing what is, basically, a tribute band flanked by IT workers. Enjoy ;)

Offline MichaelA

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Re: Kraftwerk
« Reply #157 on: October 1, 2016, 09:28:42 am »
Pleased for the successful applicants in seeing what is, basically, a tribute band flanked by IT workers. Enjoy ;)

;D

I managed to get a single ticket for the Edinburgh gig.

Offline Filler.

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Re: Kraftwerk
« Reply #158 on: October 2, 2016, 10:06:21 pm »
;D

I managed to get a single ticket for the Edinburgh gig.

I saw you were a victim of a technical glitch... at least you got one tho, but bloody frustrating I'm sure.


Found out yesterday, while waiting for our match v Swansea, that the clock on my computer was 10 minutes behind. And there's me thinking it would be accurate! My fault. But explains my horror when 'logging in' that I was near 5000th in the queue I guess.

Gutted. 

Offline Filler.

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Re: Kraftwerk
« Reply #159 on: October 7, 2016, 09:28:27 am »
get behind me please. New date added for Royal Albert Hall. Tickets on sale in 30 mins. Ssshh.