2.12.2001 Kraftwerk Eletronik Pioniere Minimalistic Ralf Hütter und Florian Schneider sind wohl ein Parade Beispiel für Leute, die ihr eigenes Ding bis zu letzten KOnsequenz durchgezogen haben, ohne daß zu Beginn des gemeinsamen Auftretens und Wirkens als Kraftwerk eine nennenwerte Aussicht auf Erfolg bestand. Aus der 1968 von Ralf und Florian gegründeten Ralf Hütter Organisation ging 1970 nach ausgedehnten Touren das Duo Kraftwerk hervor, das in einer Zeit, zu der Bluesrock und Woodstockfeeling die Szene beherschten, mit elektronisch experimenteller Musik aufwartete. Zudem hatten sie noch die Unverfrorenheit, keinen englischen Gruppennamen zu tragen. *** Is dat nou muziek Kraftwerk de Duitse group " Kraftwerk is zo een gevall waar menigen dat zouden ontkennen. Omdat het meestal Beeps and klicks en een boel van heel wat rare geluiden zijn. OP wijze van spreken Tekno ! Maar met zon goedkope opmerkingen moetn jullie RALF en FLORIAN niet erg lastig vallen. Want deze jongens, ooit oprichters van Kraftwerk kunnen ook opn klassieke manier instrumenten bespelen. En bovendien een Engelse Bandname weigerten!! Blijf kijken op www.trickbeat.de Dann ist endlich etwas los!! ! fight in the streets. Whereselse ? Electronic Beats the quest...for noise ? Es wird immer weitergehn.. musik als träger von ideen .. Showdown !! Expo 2000. Theme for the EXPO 2000 After a silence of 15 years, Kraftwerks first release was a maxi single plus an Remix double 12´inch set with the theme for the controversial world fair 2000 Highly Influential Traces of Kraftwerks influences can be found throughout the decades in all major music markets. Closest to the Kraftwerk stance - even when it comes to repertoire - is the Belgian group TELEX. They even had a song called ´Tour de france`. Regarding British artists, HUMAN LEAGUE, DEpeche MODE, SoFT CELL, NEW ORDER and CABARET VOLTAIRE, to name a few. American acts include DEVO - who even had a sample of kraftwerk on the remix maxi of `Post post modern man´- and SUICIDE from New York.		Kraftwerk This feature informs you about KRAFTWERK, a German Band-Project from the Duesseldorf area. To any forreign audience comes to mind : They dont have an ENGLISH bandname. Why,yes there name means `Powerpant´ in English. It all goes back to 1968 when Ralf HUETTER and Florian SCHNEIDER set up an experimental Outfit `ORGANISATION´, whose only Album on RCA is very hard to find. They started again 1970 under a new name Kraftwerk on Phillips. The first Album was a surprising sucess selling about 50.000 copies . Regardless of that it has no offical CD release . This sites shows you a variety of pictures, record covers from vintage but also recent sourcers and is still under contruction. ..... Theo Trickbeat This page is an item I mentioned in messages on www.yesterdayland.com. 1967 auf Sendung Die Wunderkräfte des STANLEY BEAMISH When Stanley die Pille nimmt, stattet sie ihn mit erstaunlichen Fähigkeiten aus: FLIEGEN,RIESENKRÄFTE UND UNVERWUNDBARKEIT Mensch Maschine ... even sang on the radio. . Replacing musicans on stage with Dummies was one statement by Kraftwerk which is among there most controversial. It startet out in 1978, while promoting their MenSCH MASCHINE album. Sweets feature on the trickbeat.site More Food Gag Examples due shortly#### Mehr futterwitze ### International Musican - Magazin für die Musik welt # 2-1980 mit großen Interview ** : "Real Moneý?" TV Party Com. Die beste Site über TV Shows der USA. BELPHEGOR GRusel GRUSEL Wer oder was ist das Gespenst im Louvre? Blick in einen Plattenladen der Sechziger, mit Freddy Quin Fernsehserie SEASPRAY Langeweile, erörtert vom Psychologen Fromm Wer soll Kanzler-Kandidat von CDU/CSU werden? Käpten Nuss,die Nuss-Nougat-Creme, die vom Hersteller Kraft mit dreiseitigen Strips in Comicheften 1970 am Markt lanciert werden . Prior to the Video Clip exposure Kratwerk where rarely on german Television. They appeared at BEAT CLUB and ROCKPOP. Electric Cafe the album of 1985 is also remarkable for the line: "Iam not your sex object" Use the opportunity of discussion the topic "kraftwerk" via e-mail with Theo Trickbeat. Ebenso in 1966/67 in Deutschland: MIRACLE MAN Ein Schwarz-Weises Comic Heft mit einem zauberhaften Supermann,der seine Kräfte durch eine Zauberscheibe gewann. Das ist auf der Trickbeat Site bald zu sehen.

As an adolescent in 1978–79, Kraftwerk were seldom far from my radio. The local station used to play “Kometenmelodie 2” (from Autobahn) and “Airwaves” (Radio-Activity) on its Sunday evening programme for hi-fi buffs, along with audiophiliac Moog voyages by Tomita, Jarre and Vangelis. You switched off your bedroom light, angled your face to the night sky and imagined your small transistor radio to be emitting the pulsating symphonies of faraway planets. Not ’alf!

Thirty years later, the second side of Autobahn(1974) still takes me back to those spooky Sunday broadcasts, and I get a Proustian thrill from the rock’n’roll chords on “Kometenmelodie 2” that sound like Hot Butter playing Status Quo’s “Caroline”. However, the main attraction of Autobahn, of course, is its 22-minute title track, a virtuoso sound-simulation of a motorway journey – from the car door slamming and the engine starting, to the hypnotic white-noise patterns of 130km/h driving. While Kraftwerk can sound metallically stern when they choose to, “Autobahn” is freckled with warmth: sunny vocal harmonies (“…mit Glitzerstrahl”), a carefree flute solo (Schneider) and clever modulations (denoting gear-changes) to break the tension. As the likes of Bowie and Eno listened attentively, a dark triptych followed. Radio-Activity (1975) begins like a heartbeat in the void, accelerating into the pulse that will form the spine of the title-song, an eerie tribute to the intangibles (music, disintegrating atoms) that linger in the atmosphere. The LP has a musty scent of Old Europe, which proved a hit with the synth groups of 1980-81 (eg, Ultravox and Visage), and it retains a blood-chilling, Wagnerian quality even now, thanks to Kraftwerk’s use of the Vako Orchestron, a choir-like relative of the Mellotron. Trans-Europe Express (1977) and The Man-Machine (1978) are most people’s idea of Kraftwerk. They move with mother-of-pearl grace, each with a wry pop satire in the centre (“Showroom Dummies”, “The Model”) that allows the grandeur either side to breathe. The sparse lyrics lend themselves to considerable interpretation. Who are the real automatons – the humans or the robots? – is one of the central questions of Kraftwerk. It might be argued that, in an age when we stare into screens for years of our lives, sending emails to people sitting at desks six feet away, a line like “Ya tvoi sluga, ya tvoi rabotnik (I’m your slave, I’m your worker)” is not so much cute as close to the bone. At least the dummies had time to go dancing.

Having clanged a whole lotta metal on Trans-Europe Express, Kraftwerk turned their attention to commerce, with outrageous elegance. Computer World (1981), my favourite of their LPs, is as sensual and soulful as Roberta Flack and Donny Hathaway, yet it keeps up a chattering commentary on its comings and goings (“Business! Numbers! Money! People!”) like an arrivals and departures board in a busy airport. Computer World was criticised for its repetitiveness and short running time (34 minutes), but it’s now rightly regarded as a masterclass in how to construct an exquisite electronic song-suite from the most unsexy ingredients.

Sadly, the remaster is a fiasco. The soft tones of “Computer Love” become sharp, the wide spaces of “Home Computer” contract into tunnels, and “Pocket Calculator” bears down on us like a spiked ceiling in a horror film. Equally poor is the remastered Radio-activity, where atmospheric crackles and hisses have been removed by noise reduction software. For pity’s sake, they’re part of the music! Autobahn, Trans-Europe Express and The Man-Machine have less sound-quality issues, but are all inferior to the original EMI CDs. Anyone planning to buy the 8CD …The Catalogue, would be well-advised to sample an individual remaster first.

Hütter is within his rights to tinker with Kraftwerk’s canon as he wishes, but a botched Kraftwerk remaster series is a bitter disappointment nevertheless. It’s not such an issue, thankfully, with the remaining three LPS: the lean, industrial Techno Pop (a re-titled Electric Café with added track “House Phone”); The Mix (1991), a surprisingly addictive re-imagining of 11 classic tracks in a dancefloor context; and Tour De France (2003), a cycling fetishist’s techno headphone soundtrack with a gorgeous five-note motif. For those who’ll never sport the yellow jersey, have no fear. It also works its magic if you’re on an exercise bike. DAVID CAVANAGH