Kraftwerk
Kraftwerk | |
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Background information | |
Origin | Düsseldorf, West Germany |
Genres | |
Discography | Kraftwerk discography |
Years active | 1970 | –present
Labels | |
Spinoffs | Neu! |
Spinoff of | Organisation |
Members |
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Past members |
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Website | kraftwerk |
Kraftwerk (German:
On commercially successful albums such as Autobahn (1974), Trans-Europe Express (1977), The Man-Machine (1978), and Computer World (1981), Kraftwerk developed a self-described "robot pop" style that combined electronic music with pop melodies, sparse arrangements, and repetitive rhythms, while adopting a stylized image including matching suits. Following the release of Electric Café (1986), Flür left the group in 1987, followed by Bartos in 1990. The band released Tour de France Soundtracks, their latest album of new material, in 2003. Founding member Schneider left in 2008. The band, with new members, has continued to tour under the leadership of Hütter.
The band's work has influenced a diverse range of artists and many genres of modern music, including
History
Formation and early years (1970–1973)
Florian Schneider (flutes, synthesizers, violin) and Ralf Hütter (organ, synthesizers) met as students at the Robert Schumann Hochschule in Düsseldorf in the late 1960s, participating in the German experimental music and art scene of the time, which Melody Maker jokingly dubbed "krautrock".[6][page needed]
They joined a quintet known as
Early Kraftwerk line-ups from 1970 to 1974 fluctuated, as Hütter and Schneider worked with around a half-dozen other musicians during the preparations for and the recording of three albums and sporadic live appearances, including guitarist Michael Rother and drummer Klaus Dinger, who left to form Neu!.[6][page needed] The only constant figure in these line-ups was Schneider, whose main instrument at the time was the flute; at times he also played the violin and guitar, all processed through a varied array of electronic devices. Hütter, who left the band for eight months to focus on completing his university studies, played synthesizer and keyboards (including Farfisa organ and electric piano).[citation needed]
The band released two free-form experimental rock albums, Kraftwerk (1970) and Kraftwerk 2 (1972). The albums were mostly exploratory musical improvisations played on a variety of traditional instruments including guitar, bass, drums, organ, flute, and violin. Post-production modifications to these recordings were used to distort the sound of the instruments, particularly audio-tape manipulation and multiple dubbings of one instrument on the same track. Both albums are purely instrumental. Live performances from 1972 to 1973 were mostly made as a duo, using a simple beat-box-type electronic drum machine with preset rhythms taken from an electric organ. Occasionally, they performed with bass players as well. These shows were mainly in Germany, with occasional shows in France.[6][page needed] Later in 1973, Wolfgang Flür joined the group for rehearsals, and the unit performed as a trio on the television show Aspekte for German television network ZDF.[9]
With Ralf und Florian, released in 1973, Kraftwerk began to rely more heavily on synthesizers and drum machines. Although almost entirely instrumental, the album marks Kraftwerk's first use of the vocoder in the song "Ananas Symphonie" (Pineapple Symphony,) which became one of its musical signatures. According to English music journalist Simon Reynolds, Kraftwerk were influenced by what he called the "adrenalized insurgency" of Detroit artists of the late '60s MC5 and the Stooges.[10]
The input, expertise, and influence of producer and engineer Konrad "Conny" Plank was highly significant in the early years of Kraftwerk. Plank also worked with many of the other leading German electronic acts of that time, including members of Can, Neu!, Cluster, and Harmonia. As a result of his work with Kraftwerk, Plank's studio near Cologne became one of the most sought-after studios in the late 1970s. Plank co-produced the first four Kraftwerk albums.[6][page needed]
International breakthrough: Autobahn and Radioactivity (1974–1976)
The release of Autobahn in 1974 saw Kraftwerk moving away from the sound of its first three albums. Hütter and Schneider had invested in newer technology such as the Minimoog and the EMS Synthi AKS, helping give Kraftwerk a newer, "disciplined" sound. Autobahn was also the last album that Conny Plank engineered. After the commercial success of Autobahn in the US, where it peaked at number 5 in the Billboard Top LPs & Tapes,[11] Hütter and Schneider invested in updating their studio, thus lessening their reliance on outside producers. At this time the painter and graphic artist Emil Schult became a regular collaborator, designing artwork, cowriting lyrics, and accompanying the group on tour.[6][page needed]
The year 1975 saw a turning point in Kraftwerk's live shows. With financial support from Phonogram Inc., in the US, they were able to undertake a tour to promote the Autobahn album, a tour which took them to the US, Canada and the UK for the first time. The tour also saw a new, stable, live line-up in the form of a quartet. Hütter and Schneider continued playing keyboard synthesizers such as the Minimoog and ARP Odyssey, with Schneider's use of flute diminishing. The two men started singing live for the first time, and Schneider processing his voice with a vocoder live. Wolfgang Flür and new recruit Karl Bartos performed on home-made electronic percussion instruments. Bartos also used a Deagan vibraphone on stage. The Hütter-Schneider-Bartos-Flür formation remained in place until the late 1980s and is now regarded as the classic live line-up of Kraftwerk. Emil Schult generally fulfilled the role of tour manager.[6][page needed]
After the 1975 Autobahn tour, Kraftwerk began work on a follow-up album,
In 1976, Kraftwerk toured in support of the Radio-Activity album. David Bowie was among the fans of the record and invited the band to support him on his Station to Station tour, an offer the group declined.[12] Despite some innovations in touring, Kraftwerk took a break from live performances after the Radio-Activity tour of 1976. Also, in this tour, they played some "demo-test" versions for Trans Europe Express songs (Showroom Dummies, Trans Europe Express and Europe Endless) as you could hear on some YouTube videos with show bootlegs.
Trans-Europe Express, The Man-Machine and Computer World (1977–1982)
After having finished the Radio-Activity tour Kraftwerk began recording Trans-Europe Express (German: Trans-Europa Express) at the Kling Klang Studio.[6][page needed] Trans-Europe Express was mixed at the Record Plant Studios in Los Angeles. It was around this time that Hütter and Schneider met David Bowie at the Kling Klang Studio. A collaboration was mentioned in an interview (Brian Eno) with Hütter, but it never materialised. The release of Trans-Europe Express in March 1977[6][page needed] was marked with an extravagant train journey used as a press conference by EMI France. The album won a disco award in New York later that year.
In May 1978 Kraftwerk released The Man-Machine (German: Die Mensch-Maschine), recorded at the Kling Klang Studio. Due to the complexity of the recording, the album was mixed at Studio Rudas in Düsseldorf. The band hired sound engineer Leanard Jackson from Detroit to work with Joschko Rudas on the final mix. The Man-Machine was the first Kraftwerk album where Karl Bartos was cocredited as a songwriter. The cover, produced in black, white and red, was inspired by Russian artist El Lissitzky and the Suprematism movement. Gunther Frohling photographed the group for the cover, a now-iconic image which featured the quartet dressed in red shirts and black ties. After it was released Kraftwerk did not release another album for three years.[6][page needed]
In May 1981 Kraftwerk released
Kraftwerk returned to live performance with the Computer World tour of 1981, where the band effectively packed up its entire Kling Klang studio and took it along on the road. They also made greater use of live visuals including back-projected slides and films synchronized with the music as the technology developed, the use of hand-held miniaturized instruments during the set, and the use of replica mannequins of themselves to perform on stage during the song "The Robots".[citation needed]
Electric Café (1982–1989)
In 1982 Kraftwerk began to work on a new album that initially had the working title
In May or June 1982,[15] during the recording of "Tour de France", Ralf Hütter was involved in a serious cycling accident.[6][page needed] He suffered head injuries and remained in a coma for several days. During 1983 Wolfgang Flür was beginning to spend less time in the studio. Since the band began using sequencers his role as a drummer was becoming less frequent. He preferred to spend his time travelling with his girlfriend. Flür was also experiencing artistic difficulties with the band. Though he toured the world with Kraftwerk as a drummer in 1981, his playing does not appear on that year's Computer World or on the 1986 album Electric Café. In 1987 he left the band and was replaced by Fritz Hilpert.
The Mix (1990–1999)
After years of withdrawal from live performance Kraftwerk began to tour Europe more frequently. In February 1990 the band played a few secret shows in Italy. Karl Bartos left the band shortly afterwards. The next proper tour was in 1991, for the album The Mix. Hütter and Schneider wished to continue the synth-pop quartet style of presentation, and recruited Fernando Abrantes as a replacement for Bartos. Abrantes left the band shortly after though. In late 1991, long-time Kling Klang Studio sound engineer Henning Schmitz was brought in to finish the remainder of the tour and to complete a new version of the quartet that remained active until 2008.
In 1997 Kraftwerk made a famous appearance at the dance festival Tribal Gathering held in England.[16] In 1998, the group toured the US and Japan for the first time since 1981, along with shows in Brazil and Argentina. Three new songs were performed during this period and a further two tested in soundchecks, which remain unreleased.[17] Following this trek, the group decided to take another break.[18]
In July 1999 the single "Tour de France" was reissued in Europe by EMI after it had been out of print for several years. It was released for the first time on CD in addition to a repressing of the 12-inch vinyl single. Both versions feature slightly altered artwork that removed the faces of Flür and Bartos from the four-man cycling paceline depicted on the original cover. In 1999 ex-member Flür published his autobiography in Germany, Ich war ein Roboter. Later English-language editions of the book were titled Kraftwerk: I Was a Robot.
In 1999, Kraftwerk were commissioned to create an
Tour de France Soundtracks and touring the world (2000–2009)
In August 2003 the band released
In June 2005 the band's first-ever official live album, Minimum-Maximum, which was compiled from the shows during the band's tour of spring 2004, received extremely positive reviews.[19] The album contained reworked tracks from existing studio albums. This included a track titled "Planet of Visions" that was a reworking of "Expo 2000". In support of this release, Kraftwerk made another quick sweep around the Balkans with dates in Serbia, Bulgaria, Macedonia, Turkey, and Greece. In December, the Minimum-Maximum DVD was released. During 2006, the band performed at festivals in Norway, Ireland, the Czech Republic, Spain, Belgium, and Germany.
In April 2008 the group played three shows in US cities
In 2009, Kraftwerk performed concerts with special 3D background graphics in Wolfsburg, Germany; Manchester, UK; and Randers, Denmark. Members of the audience were able to watch this multimedia part of the show with 3D glasses, which were given out. During the Manchester concert (part of the 2009 Manchester International Festival)[24] four members of the GB cycling squad (Jason Kenny, Ed Clancy, Jamie Staff and Geraint Thomas) rode around the Velodrome while the band performed "Tour de France".[25] The group also played several festival dates, the last being at the Bestival 2009 in September, on the Isle of Wight.[26] 2009 also saw the release of The Catalogue box set in November.[27] It is a 12-inch album-sized box set containing all eight remastered CDs in cardboard slipcases, as well as LP-sized booklets of photographs and artwork for each individual album.
The Catalogue and continued touring (2010–2017)
Although not officially confirmed, Ralf Hütter suggested that a second boxed set of their first three experimental albums—
Kraftwerk played at Ultra Music Festival in Miami on 23 March 2012. Initiated by Klaus Biesenbach, the Museum of Modern Art of New York organized an exhibit titled Kraftwerk – Retrospective 1 2 3 4 5 6 7 8 where the band performed their studio discography from Autobahn to Tour de France over the course of eight days to sell-out crowds. The exhibit later toured to the Tate Gallery as well as to K20 in Düsseldorf. Kraftwerk performed at the No Nukes 2012 Festival in Tokyo, Japan. Kraftwerk were also going to play at the Ultra Music Festival in Warsaw, but the event was cancelled; instead, Kraftwerk performed at Way Out West in Gothenburg. A limited edition version of the Catalogue box set was released during the retrospective, restricted to 2000 sets. Each box was individually numbered and inverted the colour scheme of the standard box. In December, Kraftwerk stated on their website that they would be playing their Catalogue in Düsseldorf and at London's Tate Modern. Kraftwerk tickets were priced at £60 in London, but fans compared that to the $20 ticket price for tickets at New York's MoMA in 2012, which caused consternation. Even so, the demand for the tickets at The Tate was so high that it shut down the website.
In March 2013, the band was not allowed to perform at a music festival in China due to unspecified "political reasons".[30] In an interview in June after performing the eight albums of The Catalogue in Sydney, Ralf Hütter stated: "Now we have finished one to eight, now we can concentrate on number nine."[31] In July, they performed at the 47th Montreux Jazz Festival. The band also played a 3-D concert on 12 July at Scotland's biggest festival – T in the Park – in Balado, Kinross, as well as 20 July at Latitude Festival in Suffolk, and 21 July at the Longitude Festival in Dublin.[32]
In October 2013 the band played four concerts, over two nights, in
In 2014, Kraftwerk brought their four-night, 3D Catalogue tour to the Walt Disney Concert Hall in Los Angeles,
At the request of race director Christian Prudhomme, Kraftwerk performed at the Tour de France on 1 July 2017, this time in Kraftwerk's hometown Düsseldorf. French electronic band Air opened the concert, invited by Kraftwerk. Concertgoers were offered 3D glasses to perceive stereoscopic effects on the video screen.[39]
3-D The Catalogue and Schneider's death (2017–present)
In April 2017, Kraftwerk announced
On 20 July 2018, at a concert in Stuttgart, German astronaut Alexander Gerst performed "Spacelab" with the band while aboard the International Space Station, joining via a live video link. Gerst played melodies using a tablet as his instrument alongside Hütter as a duet, and delivered a short message to the audience.[41]
On 20 July 2019, Kraftwerk headlined the Saturday night lineup on the Lovell Stage at Bluedot Festival, a music and science festival held annually at Jodrell Bank Observatory, Cheshire, UK.[42] The 2019 festival celebrated the 50th anniversary of the Apollo 11 Moon landing.
On 21 April 2020, Florian Schneider died at age 73 after a brief battle with cancer. On 3 July 2020, the German-language versions of Trans Europe Express, The Man Machine, Computer World, Techno Pop and The Mix, alongside 3-D The Catalogue, were released worldwide on streaming services for the first time.[43][44][45]
On 21 December 2020, Parlophone/WEA released Remixes, a digital
On 30 October 2021, Kraftwerk were inducted into the
From 27 May to 10 July 2022, the formation undertook a successful North American tour, performing in 24 cities.[49] In May 2024, they will hold a residency in Los Angeles at Walt Disney Concert Hall performing their albums.[50]
Music and artistry
Style
Kraftwerk have been recognized as pioneers of
Starting with the release of
Technological innovations
Throughout their career, Kraftwerk have pushed the limits of music technology with some notable innovations, such as home-made instruments and custom-built devices. The group has always perceived their Kling Klang Studio as a complex music instrument, as well as a sound laboratory; Florian Schneider in particular developed a fascination with music technology, with the result that the technical aspects of sound generation and recording gradually became his main fields of activity within the band.[6][page needed] Alexei Monroe called Kraftwerk the "first successful artists to incorporate representations of industrial sounds into non-academic electronic music".[71]
Kraftwerk used a custom-built
On the Radio-Activity tour in 1976 Kraftwerk tested out an experimental light-beam-activated drum cage allowing Flür to trigger electronic percussion through arm and hand movements. Unfortunately, the device did not work as planned, and it was quickly abandoned.[73] The same year Ralf Hütter and Florian Schneider commissioned Bonn-based "Synthesizerstudio Bonn, Matten & Wiechers" to design and build the Synthanorma Sequenzer with Intervallomat, a 4×8 / 2×16 / 1×32 step-sequencer system with some features that commercial products couldn't provide at that time.[73] The music sequencer was used by the band for the first time to control the electronic sources creating the rhythmic sound of the album Trans-Europe Express.[77]
Since 2002, Kraftwerk's live performances have been conducted with the use of virtual technology (i.e. software replicating and replacing original analogue or digital equipment). According to Fritz Hilpert, "the mobility of music technology and the reliability of the notebooks and software have greatly simplified the realization of complex touring setups: we generate all sounds on the laptops in real time and manipulate them with controller maps. It takes almost no time to get our compact stage system set up for performance. [...] This way, we can bring our Kling-Klang Studio with us on stage. The physical light weight of our equipment also translates into an enormous ease of use when working with software synthesizers and sound processors. Every tool imaginable is within immediate reach or just a few mouse clicks away on the Internet."[78]
Reclusiveness and eccentricity
The band is also known for being notoriously reclusive, providing rare and enigmatic interviews, using life-size mannequins and robots while conducting official photo shoots, refusing to answer fanmail and barring visitors from the Kling Klang Studio, the precise location of which they used to keep secret.
Another notable example of this eccentric behavior was reported to Johnny Marr of the Smiths by Karl Bartos, who explained that anyone trying to contact the band for collaboration would be told the studio telephone did not have a ringer since, while recording, the band did not like to hear any kind of noise pollution. Instead, callers were instructed to phone the studio precisely at a certain time, whereupon the phone would be answered by Ralf Hütter, despite never hearing the phone ring.[79]
Chris Martin of Coldplay recalled in a 2007 article in Q magazine the process of requesting permission to use the melody from the track "Computer Love" on "Talk" from the album X&Y. He sent a letter through the lawyers of the respective parties and several weeks later received an envelope containing a handwritten reply that simply said "yes".[80]
Influence and legacy
According to music journalist Neil McCormick, Kraftwerk might be "the most influential group in pop history".[51] NME wrote: "'The Beatles and Kraftwerk' may not have the ring of 'the Beatles and the Stones', but nonetheless, these are the two most important bands in music history".[19] AllMusic wrote that their music "resonates in virtually every new development to impact the contemporary pop scene of the late 20th century".[66]
Kraftwerk's musical style and image can be heard and seen in 1980s
Depeche Mode's composer Martin Gore said: "For anyone of our generation involved in electronic music, Kraftwerk were the godfathers".[51] Daniel Miller, founder of Mute Records, purchased the vocoder used by Kraftwerk in their early albums, comparing it to owning "the guitar Jimi Hendrix used on 'Purple Haze'".[86] Andy McCluskey and Paul Humphreys, founding members of OMD, have stated that Kraftwerk was a major reference on their early work,[87] and covered "Neon Lights" on the 1991 album, Sugar Tax.[88] The electronic band Ladytron were inspired by Kraftwerk's song "The Model" when they composed their debut single "He Took Her to a Movie".[89] Aphex Twin noted Kraftwerk as one of his biggest influences and cited Computer World as a very influential album towards his music and sound.[90] Björk has cited the band as one of her main musical influences.[91] Electronic musician Kompressor has cited Kraftwerk as an influence. The band was also mentioned in the song "Rappers We Crush" by Kompressor and MC Frontalot ("I hurry away, get in my Chrysler. Oh, the dismay!/Someone's replaced all of my Backstreet Boys with Kraftwerk tapes!"). Dr. Alex Paterson of the Orb listed The Man-Machine as one of his 13 favourite albums of all time.[92] According to NME, Kraftwerk's pioneering "robot pop" also spawned groups like The Prodigy and Daft Punk.[19]
Kraftwerk inspired many acts from other styles and genres, along with having their work been repeatedly sampled. David Bowie's "
In 1989, a speeded up version of Kraftwerk's song "Electric Café" began appearing as the theme song for a series of sketches on Saturday Night Live called "Sprockets", a German television spoof by Mike Myers.[101][102] The 1998 comedy The Big Lebowski features a fictional band called Autobahn, a parody of Kraftwerk and their 1974 record Autobahn.[103]
In January 2018, BBC Radio 4 broadcast the 30-minute documentary Kraftwerk: Computer Love, which examined "how Kraftwerk's classic album Computer World has changed people's lives."[104]
In October 2019, Kraftwerk were nominated for induction into the Rock and Roll Hall of Fame for 2020.[105] On 12 May 2021, Kraftwerk were announced as an official inductee into the Hall, for the class of 2021.[106]
Their technical application and sound dynamics have been cited numerous times as being the foundation for both the development of hip hop and techno.
Discography
- Studio albums
- Kraftwerk (1970)
- Kraftwerk 2 (1972)
- Ralf und Florian (1973)
- Autobahn (1974)
- Radio-Aktivität(1975)
- Trans Europa Express (1977)
- Die Mensch-Maschine(1978)
- Computerwelt(1981)
- Electric Café (1986)
- The Mix (1991)
- Tour de France Soundtracks (2003)
Members
Current members
- Ralf Hütter – lead vocals, vocoder, synthesizers, keyboards (1970–1971, 1971–present); organ, drums and percussion, bass guitar, guitar (1970–1971, 1971–1974)
- Henning Schmitz – sound effects, live keyboards (1991–present)[107]
- Falk Grieffenhagen – live video technician (2013–2022); electronic percussion (2023–present)[107]
- Georg Bongartz - live video technician (2023–present)[108]
Former members
- Florian Schneider – synthesizers, background vocals, vocoder, computer-generated vocals, acoustic and electronic flute, live saxophone, percussion, electric guitar, violin (1970–2008; died 2020)
- Andreas Hohmann – drums (1970)
- Thomas Lohmann – drums (1970)
- Hans-Günther "Charly" Weiss – drums (1970)
- Klaus Dinger – drums (1970–1971; died 2008)
- Eberhard Kranemann – bass guitar (1970–1971)[109]
- Houschäng Nejadépour – electric guitar (1970–1971)
- Peter Schmidt – drums (1970–1971)
- Michael Rother – electric guitar (1971)
- Plato Kostic (a.k.a. Plato Riviera) – bass guitar (1973)
- Emil Schult – electric guitar, electronic violin (1973)
- Wolfgang Flür – electronic percussion (1973–1987)
- Klaus Röder – electric guitar, electronic violin (1974–1975)
- Karl Bartos – electronic percussion, vocals, live vibraphone, live keyboards (1975–1990)[110]
- Fritz Hilpert – electronic percussion (1987–2022)[107][non-primary source needed]
- Fernando Abrantes – electronic percussion, synthesizer (1991)
- Stefan Pfaffe – live video technician (2008–2012)
Timeline
Lineups
Period | Members | Releases |
---|---|---|
1970 |
| |
1970 |
| |
1970 |
|
|
1970 |
|
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1970-1971 |
| |
1971 |
| |
1971 |
| |
1971 |
| |
1971 |
| |
1971-1973 |
|
|
1973 |
| |
1973 |
| |
1973 |
| |
1973 |
| |
1974 |
| |
1974-1975 |
|
|
1975-1987 |
|
|
1987-1990 |
|
|
1990 |
| |
1990-1991 |
| |
1991 |
| |
1991-2008 |
|
|
2008-2009 |
| |
2009-2012 |
| |
2012-2013 |
| |
2013-2022 |
| |
2022-2023 |
| |
2023–present |
|
Videography
- Minimum Maximum (2005)
- 3-D The Catalogue (2017)
- 3-D Der Katalog (2017)
Awards and achievements
Grammy Awards
Year | Nominee / work | Award | Result |
---|---|---|---|
1982 | "Computer World" | Best Rock Instrumental Performance | Nominated |
2006 | Minimum-Maximum | Best Dance/Electronic Album | Nominated |
2014 | Kraftwerk | Lifetime Achievement Award | Won |
2015 | Autobahn | Hall of Fame | Won |
2018 | 3-D The Catalogue | Best Dance/Electronic Album | Won |
Best Surround Sound Album
|
Nominated |
See also
- Grammy Award recipients for Best Dance/Electronic Album
- List of ambient music artists
- List of Rock and Roll Hall of Fame inductees
References
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"Why Kraftwerk are still the world's most influential band". The Guardian. 27 January 2013.
"Kraftwerk - Pop Art (documentary 2013)". YouTube. Archived from the original on 30 October 2021. - ^ Grammy Academy. "Lifetime Achievement Award: Kraftwerk". National Academy of Recording Arts and Sciences, 14 January 2014. Retrieved 23 January 2014
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- ISBN 978-0-946719-70-9
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- ^ saret97. "Kraftwerk – Spacelab (Live @ Evoluon 18-10-2013)". YouTube. Archived from the original on 30 October 2021. Retrieved 24 August 2014.
{{cite web}}
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Kraftwerk's Uranium from the 1975 album Radio-Activity, became the model for the keyboard pad sound at the start and end of the track
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In genere lo consideriamo un apprezzamento per il nostro lavoro. La versione di Siouxsie di 'Hall Of Mirrors' è straordinaria, come gli arrangiamenti di Alexander Balanescu per quartetto d'archi. Anche il disco di Señor Coconut ci è piaciuto molto.
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We didn't expect the song to be that big (...) We weren't thinking about selling out. We were thinking about Kraftwerk and Eurodisco
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Sources
- Bussy, Pascal (1993). Kraftwerk—Man, Machine & Music. SAF Publishing. ISBN 978-0-946719-70-9.
- ISBN 978-1-86074-417-4.
Further reading
- Tim Barr, Kraftwerk: From Düsseldorf to the Future 1998
- Vanni Neri & Giorgio Campani: A Short Introduction to Kraftwerk 2000
- Albert Koch: Kraftwerk: The Music Makers 2002
- Kraftwerk: Kraftwerk Photobook 2005 (included in the Minimum-Maximum Notebookset)
- Sean Albiez and David Pattie: Kraftwerk: Music Non-Stop 2010
- David Buckley: Kraftwerk: Publikation 2012
- Toby Mott: Kraftwerk: 45 RPM 2012
- The Guardian: "Kraftwerk sue makers of Kraftwerk charging devices" 2015
External links
- Official website
- Kraftwerk's channel on YouTube
- Kraftwerk: Free Listening at SoundCloud
- ANTENNA – The International Kraftwerk Mailing List (since 2003 September)
- Kraftwerk FAQ – The Kraftwerk FAQ: Frequently asked questions and answers
- BBC Radio 1 Kraftwerk documentary– 2006 Kraftwerk documentary with Alex Kapranos
- Kraftwerk Vinyl Site for collectors
- AllKraftwerk
- Mats's Kraftwerk Page with lots of images and information, since 1997[clarification needed]
- Good evening Kraftwerk, good evening Stuttgart! by the European Space Agency