license except where otherwise noted. “Through the '50s and '60s everything was Americanized.”. Florian Schneider was announced last week. Even Autobahn, which starts with a drive in the country, ends not with a kling-klang but with a “Morgenspaziergang” -- literally a morning walk -- complete with electronic chirps that evoke science-fiction birdsong, and Schneider’s soothing flute riff. “We had no father figures, no continuous tradition of entertainment,” Hütter told British music journalist Jon Savage in a 1991 interview. Initially niche, it soon went mainstream and travelled across the continent, resulting in a new wave of homegrown German electronic acts such as Boytronic, Rheingold, DAF and Stratis. Pioneering hip hop musician Afrika Bambaataa's love for Kraftwerk is evidenced by his groundbreaking 1982 electro track "Planet Rock" (above). Other on-the-road anthems are about running away from or toward something, which is very American, but “Autobahn” is about just enjoying the ride. Kraftwerk’s pioneering approach, using synthesisers and sequenced drum arrangements to evoke robotic or industrial rhythms, became the blueprint for Detroit musicians such as Juan Atkins, who coined the term “techno”. Hütter described Kraftwerk’s albums as industrielle Volksmusik -- industrial folk music -- and he wasn’t entirely kidding. © 2020 Billboard. We call it ‘Die Menschmaschine,’ which means ‘the human machine.’ We are not the band. Karen… READ THE REST, A Boing Boing exclusive: Sage Vaughn interviewed Grammy-nominated DJ, music producer, composer and music/film director Sam i (formerly known as Sam Spiegel)'s about the recording of the track "To Whom It May Concern" feat CeeLo Green, Theophilus London & Alex Ebert), which hails from the same record (Random Shit from the Internet Era) as "Don't… READ THE REST, Finding the perfect balance is essential in practically everything. Kraftwerk's music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music. It transformed into a hardcore hybrid of Underground Resistance-style techno, EBM and gabba, which flourished among Berlin’s anarchistic creative communities. Kraftwerk’s robotic rhythms resonated loudest in deindustrialising 1970s Detroit and gave rise to techno – starting a cultural feedback loop that continues today, Mon 25 May 2020 03.22 EDT In The Wire, John Morrison writes: In an interview with Dan Sicko, the late author of Techno Rebels: The Renegades Of Electronic Funk, former Kraftwerk percussionist Karl Bartos gives an essential statement on the influence of black R&B on the band's work: "We were all fans of American music: soul, the Tamla/Motown thing, and of course, James Brown. When exploring the band's early work, this rhythmic influence does occasionally peek its head up through their abstract sound. As the 90s approached, radio DJs such as Monika Dietl were educating Berliners on both sides of the Berlin wall; Mark Ernestus, founder of record shop Hard Wax, was intrinsic to bringing the Detroit sound to the German capital. They represented for Düsseldorf as much as the Beach Boys did for Los Angeles. It reached the point where artists from the States were playing more in Europe than they were in their own country, with a far greater number of techno clubs and festivals providing more demand and more opportunity. And Kraftwerk is a vehicle for our ideas.”. It was a moderate success, but if it hadn’t been for radio and club play – and the record shops that supplied those DJs – then Kraftwerk would not have had the impact they did. Upon hearing their sequenced drum programming, he immediately adopted the technique to mimic the group’s tight, robotic rhythms. But the musical conversation and mutual respect between the two territories has never ceased. It introduced Europe to the first wave of Detroit techno artists, Blake Baxter, Derrick May and Eddie Fowlkes among them. But Kraftwerk itself sounded entirely new. Downtown Records in New York was one of many spots where Afrika Bambaataa would pick up the records he played in his legendary freeform sets at block parties in the Bronx. In the 2000s, a wave of Detroit selectors including Magda, Seth Troxler, Matthew Dear and Derek Plaslaiko migrated to Berlin. As with Bambaataa’s iconic Planet Rock, produced with Arthur Baker (another Kraftwerk fan), Atkins’ early work draws heavily on Kraftwerk’s tropes and themes. New wave, early synth pop, the new romantics, London’s Blitz kids, OMD, David Bowie, Gary Numan, Visage, Depeche Mode, Soft Cell and many other groups from the post-industrial early 80s ushered in the first generation of popular music that was entirely created with electronic instruments. His unconstrained programming attracted a huge following, introducing his audience to obscure European imports and US acts including Prince. We always tried to make an American rhythm feel, with a European approach to harmony and melody." In 1988, Virgin released Techno! With automotive noises and its steady, repetitive rhythm, the nearly 23-minute journey sounded mechanical, monotonous, and also oddly romantic. And their music could be clever as well as optimistic: Toward the end of “Autobahn,” the driver turns on the car radio to hear….a song about driving on the Autobahn. sites. This connection would lead to a 25-year-long collaborative relationship and friendship. program The only common celebrity anecdote about Schneider is how he once met Iggy Pop in Berlin and took him shopping for fresh asparagus, a seasonal delicacy in Germany. designed to provide a means for us to earn fees by linking to Amazon.com and affiliated According to a survey of teenagers, almost half said they actually liked or even loved math,… READ THE REST, If you want to understand the job market, there's no source more reliable than LinkedIn. “Ohm Sweet Ohm” and “Neon Lights” convey a loneliness that could bring tears to a robot’s eye. The group acknowledged their bond with Motor City during the track Planet of Visions, the statement “Detroit electro, Germany electro” repeating over and over. They met Mike Banks and Juan Atkins, turning up unannounced at an apartment they shared. Indeed, … So when data science and data analysis roles dominate the LinkedIn list of the fastest-growing jobs in the world, it's probably worth some consideration for job seekers. © 2020 Guardian News & Media Limited or its affiliated companies. As Model 500, Atkins used warped vocals and intergalactic computerised effects to envision the future from a Motor City perspective. “We’re just private people,” Kraftwerk co-founder Florian Schneider told Rolling Stone in 1975. It’s hard to think of another act that sounds so little like anything that came before it, and at the same time influenced so much that came after it. It was inevitable that their experiences in black and Latino clubs would lead to the creation of music that fed straight back into those very communities. They did everything they could to de-emphasize the personal, as they embraced a more conceptual vision of what pop music could be. Ralf is Ralf. Clubs with virtually no rules and powerful sound systems provided an emotional outlet for the once-divided city, prompting the birth of the first generation of Berlin techno pioneers. Forty years later, an array of electronic genres have been created from that blueprint: Schneider and Kraftwerk created a feedback loop between Germany and Detroit that has existed for more than half a century. (To say nothing of hip-hop: “Trans-Europe Express” alone was sampled by Afrika Bambaataa, Dr. Dre and countless others.) Along with Can and other krautrock bands, Kraftwerk invented a new kind of pop music, influenced by both psychedelia and the avant-garde but not beholden to either. Pioneering hip hop musician Afrika Bambaataa's love for Kraftwerk is evidenced by his groundbreaking 1982 electro track "Planet Rock" (above). By 1977, Kraftwerk had fully developed their practice of fusing European electronic music with black American rhythms, forging an aesthetic that reached critical mass with the release of Trans Europe Express. Kraftwerk co-founder Florian Schneider lost his battle with cancer last week at the age of 73. The group, led by him and Ralf Hütter, was then becoming popular in the U.S., after the release of its third album, Autobahn. Our forum rules are detailed in the Community Guidelines. Lauded by Mojo’s listeners and Bambaataa’s crowd, Kraftwerk’s music made its way into the clubs, even featuring on Detroit’s legendary Soul Train-inspired dance show the Scene, later replaced by the New Dance Show. I hadn't realized though that Kraftwerk readily acknowledged that it was a two-way musical conversation: Black American music, particularly R&B, was a massive influence on Kraftwerk's music. From Kraftwerk’s Kling Klang studio to WGPR-FM, Belleville and The Music Institute, back to Berlin and UFO, Planet, Tresor, to UR headquarters, Drexciya and Motor Club, to Bar 25, Hoppetosse and Berghain, the exchange continues. Meanwhile, Tresor founder Dimitri Hegemann booked Atkins to play along with Mike Banks and Underground Resistance. (To say nothing of hip-hop: “Trans-Europe Express” alone was sampled by Afrika Bambaataa, Dr. Dre and countless others.) Tresor also signed two of Drexciya’s albums, Harnessed the Storm and Neptune’s Lair, and music from Atkins, Robert Hood, Jeff Mills and Blake Baxter.

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