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The story of the phenomenon that is Kraftwerk, and how they revolutionised our cultural landscape 'We are not artists nor musicians. We are workers.' Ignoring nearly all rock traditions, expermenting in near-total secrecy in their Düsseldorf studio, Kraftwerk fused sound and technology, graphic design and performance, modernist Bauhaus aesthetics and Rhineland industrialisation - even human and machine - to change the course of modern music. This is the story of Kraftwerk the cultural phenomenon, who turned electronic music into avant-garde concept art and created the soundtrack to our digital age.
Wolfgang Flür was vital cog in the Kraftwerk machine, galvanising the group’s electric drum sound throughout the 1970’s and propelling the rhythmic backbone of iconic albums such as Autobahn and Electric Café. I Was A Robot is a detailed, evocative account, written in Flür’s no-nonsense style. It takes us from his youth into the band’s formation and touring of their influential works, laying bare the acrimonious break-up and court cases that later followed. This book is the final word on Kraftwerk, their continued influence and what it felt like to be a Man-Machine. ”This is a first-hand account of human life inside the robot factory. A world that I could barely have imagined as a 16-year-old Kraftwerk fan stranded in a suburb on the wrong side of the river from Liverpool. A window into a world that I could never have imagined.” Andy McCluskey, OMD ”Kraftwerk is a myth. Wolfgang is for real. Thus handsome elder statesman of Electronic Music gives a lot of useful inside information about the Men-Machines.” Rudi Esch, ELECRI_CITY
When they were creating and releasing their most influential albums in the mid to late 1970s, Kraftwerk were far from the musical mainstream - and yet it is impossible now to imagine the history of popular music without them. Today, Kraftwerk are considered to be an essential part of pop's DNA, alongside artists like the Beatles, the Velvet Underground, and Little Richard. Kraftwerk's immediate influence might have been on a generation of synth-based bands (Orchestral Manoeuvres in the Dark, the Human League, Depeche Mode, Yello, et al), but their influence on the emerging dance culture in urban America has proved longer lasting and more decisive. This collection of original essays looks at Kraftwerk - their legacy and influence - from a variety of angles, and demonstrates persuasively and coherently that however you choose to define their art, it's impossible to underestimate the ways in which it predicted and shaped the future.
Kraftwerk's Computer World by Steve Tupai Francis Pdf
Computer World was Kraftwerk's most concise and focused conceptual statement, their most influential record and crowning achievement. Computer World transformed the way pop music was composed, played, packaged and released and, in the process, helped create entire new genres of music including hip-hop, techno, trance, electro, industrial and synth-pop. They influenced the influencers. Upon its release on 10 May 1981, the record was a revelation. It was unlike anything created for mainstream consumers of music at that time, an electronic suite of assured and industrious propulsive forward movement. Kraftwerk set off a sonic detonation that is still being felt today. This book explores Kraftwerk's revolutionary sonic template, their conceptual and artistic preoccupations and lyrical obsessions to provide new insights into one of the greatest records ever made.
The future of modern music began in Dusseldorf in 1970, when an avant-garde German band, the Organisation re-invented themselves as Kraftwerk and set in motion a train of events which introduced a whole new language into popular culture. By pre-dating electro, house, ambient and techno by more than two decades, they are quite simply the most influentual band of the late 20th century. Having studied composi-tional theory at the Dusseldorf Conservatory, they have more in common with Stockhausen and Russian Constructivism than Chuck Berry and Andy Warhol and yet, in creating classic pop hits like 'Autobahn', 'Trans Europe Express', 'The Model' and 'Tour de France' Kraftwork created a mass-market blueprint. The list of those directly and profoundly influenced is staggering: Bowie & Iggy Pop; Human League; disco (Giorgio Moroder`s seminal work with Donna Summer); Gary Numan: Sparks; Simple Minds; Orbital; Underworld; in fact, ALL modern Dance music. As well as telling the tale of this famously enigmatic and reclusive group, Tim Barr will also speak to the full range of musicians who have been touched by Kraftwerk`s extraordinary influence.
Electronic: From Kraftwerk to the Chemical Brothers by Jean-Yves Leloup Pdf
The visual culture of electronic music: how technology, design, art and fashion have contributed to its enduring power and appeal With its roots in Detroit and Chicago in the early 1980s, electronic dance music was popularized across Europe through underground rave parties and clubs. Its impact on contemporary culture is still unfolding today. Containing interviews with early pioneers such as techno legend Jeff Mills, The Designers Republic's Ian Anderson, and those pushing the political dimension of electronic music, such as ballroom dancer and DJ Kiddy Smile, Electronicbears witness to the shifting nature of the genre. Illustrated with over 300 images, some published here for the first time, Electronic features Jean-Michel Jarre's virtual studio; work by pioneer Daphne Oram of the BBC Radiophonic Workshop; audiovisual performances by musicians like Bicep and the Chemical Brothers; fashion collections by Raf Simons and Charles Jeffrey of Loverboy; iconic photography by Jacob Khrist and Tina Paul; artwork by Christian Marclay; club graphics from Peter Saville and Mark Farrow; tons of album cover designs; and iconic venues such as the Haçienda, Gatecrasher, Fabric, Berghain and the Warehouse Project.
Kraftwerk (power station) is a group formed in Düsseldorf, North Rhine-Westphalia, West Germany during 1970, by Ralf Hütter and Florian Schneider. Widely regarded as innovators and pioneers of electronic music, they were among the first successful artists to popularize the genre. The band began as part of the German experimental krautrock scene of the early '70s, before fully embracing electronic instrumentation, including synthesizers, drum machines, and vocoders.
""Whether in Kraftwerk or as an acclaimed solo artist, Karl Bartos has had an extraordinary impact on electronic music. In The Sound of the Machine, Bartos' recollections include his childhood in postwar Germany, the early musical encounters that led him to Kraftwerk, and fascinating insights from his time with the group, such as the genesis of monumental songs like 'The Robots,' 'The Model,' and 'Tour de France,' and candid accounts of his relationships with the other bandmembers."--Amazon.com"--Publisher's description.
"W. G. Sebald was a literary phenomenon: a German literary scholar working in England, who took up creative writing out of dissatisfaction with German post-war letters. Within only a few years, his unique prose books made him one of the most celebrated authors of the late twentieth-century. This...critical introduction...highlights Sebald's double role as writer and academic. It discusses his oeuvre in the order in which his works were published in German in order to offer a deeper understanding of the original development of his literary writings"--publisher's website.
All Gates Open presents the definitive story of arguably the most influential and revered avant-garde band of the late twentieth century: CAN. It consists of two books. In Book One, Rob Young gives us the full biography of a band that emerged at the vanguard of what would come to be called the Krautrock scene in late sixties Cologne. With Irmin Schmidt and Holger Czukay - two classically trained students of Stockhausen - at the heart of the band, CAN's studio and live performances burned an incendiary trail through the decade that followed: and left a legacy that is still reverberating today in hip hop, post rock, ambient, and countless other genres. Rob Young's account draws on unique interviews with all founding members of CAN, as well as their vocalists, friends and music industry associates. And he revisits the music, which is still deliriously innovative and unclassifiable more than four decades on. All Gates Open is a portrait of a group who worked with visionary intensity and belief, outside the system and inside their own inner space. Book Two, Can Kiosk, has been assembled by Irmin Schmidt, founding member and guiding spirit of the band, as a 'collage - a technique long associated with CAN's approach to recording. There is an oral history of the band drawing on interviews that Irmin made with musicians who see CAN as an influence - such as Bobby Gillespie, Geoff Barrow, Daniel Miller, and many others. There are also interviews with artists and filmmakers like Wim Wenders and John Malkovitch, where Schmidt reflects on more personal matters and his work with film. Extracts of Schmidt's notebook and diaries from 2013-14 are also reproduced as a reflection on the creative process, and the memories, dreams, and epiphanies it entails. Can Kiosk offers further perspectives on a band that have inspired several generations of musicians and filmmakers in the voices of the artists themselves. CAN were unique, and their legacy is articulated in two books in this volume with the depth, rigour, originality, and intensity associated with the band itself. It is illustrated throughout with previously unseen art, photographs, and ephemera from the band's archive.
Dreams of Germany by Neil Gregor,Thomas Irvine Pdf
For many centuries, Germany has enjoyed a reputation as the ‘land of music’. But just how was this reputation established and transformed over time, and to what extent was it produced within or outside of Germany? Through case studies that range from Bruckner to the Beatles and from symphonies to dance-club music, this volume looks at how German musicians and their audiences responded to the most significant developments of the twentieth century, including mass media, technological advances, fascism, and war on an unprecedented scale.
This book argues for the importance of popular music in negotiations of national identity, and Germanness in particular. By discussing diverse musical genres and commercially and critically successful songs at the heights of their cultural relevance throughout seventy years of post-war German history, Soundtracking Germany describes how popular music can function as a language for “writing” national narratives. Running chronologically, all chapters historically contextualize and critically discuss the cultural relevance of the respective genre before moving into a close reading of one particularly relevant and appellative case study that reveals specific interrelations between popular music and constructions of Germanness. Close readings of these sonic national narratives in different moments of national transformations reveal changes in the narrative rhetoric as this book explores how Germanness is performatively constructed, challenged, and reaffirmed throughout the course of seventy years.