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Kraftwerk – The Catalogue (12345678)

Kraftwerk – The Catalogue (12345678)

Kraftwerk – The Catalogue (12345678) (2004)
EAC Rip | FLAC (Tracks) CUE, LOG | 2.13 GB | MP3 CBR 320 kbps | 884 MB | HQ Artwork
Electropop, Synthpop, Technopop | Label: EMI | Catalog Number: 577 423 2

? I number among my friends a handful, perhaps more, of electronic music enthusiasts. Haloed around them are acquaintances who take their pleasure in different areas of the post-rave electronic dance diaspora (from jungle to dubstep, minimal techno to house etc.) and who regard themselves as reasonably knowledgeable about their respective scenes. Quite a few people in both camps are surprisingly unaware of the progenitors of the music they love. Please note I?m not claiming that Kraftwerk are the sole begetters of the myriad genres and sub-genres that make up dance music today: the sampling of Trans-Europe Express on Afrika Bambaata?s Planet Rock doesn?t mean they invented hiphop ? a daft claim I?ve encountered on more than one occasion. However, their techniques, musical approach and subject matter certainly justify their position as the fathers of a majority of electronic and post-rave dance music.

Kraftwerk?s world tours between 2002 and 2006 and the Minimum Maximum DVD and CD live documentation have been an exercise in raising brand awareness and a chance to reaffirm the importance of their role. The activity also perhaps represents a rediscovered love of their own music and a desire to refresh and refine their oeuvre, as they did in 1991 with The Mix. Whether it also proves to be their swan song cannot be known, however I believe it?s likely to be the case in light of the thematic closure (ecologically supportable and efficient reconciliation between man and machine) that Tour De France represents. Ultimately though, the activity of the last few years is surely the essaying of a summation of a life?s work for the judgement of posterity.

Der Katalog, the long-mooted and long delayed, digitally-remastered box collection of the group?s key releases is surely the final stage of this process. That it represents a dotting of the full stop at the (possible) end of a long career may also be one reason why it has now been delayed for so long. Other reasons are probably the group?s famed perfectionism and also a pragmatic scheduling of relatively similar releases at an interval that will reduce consumer exhaustion to a minimum. Unsurprisingly, the three albums (Kraftwerk I, II and Ralf and Florian) that predated Autobahn are missing from Der Katalog. Their inclusion would have disrupted the otherwise striking consistency of the group?s approach over the last 30 years, a key, though relatively minor factor in their wider historical significance. In light of Kraftwerk?s remarkable, and welcome, self-control in not releasing extraneous product, even the smallest details acquire greater significance than would be the case for other artists. Thus, Der Katalog sees the renaming of Electric Caf? to the more sweeping (and originally titled) Techno Pop and the improved iconography of album visuals: the group portrait of Trans-Europe Express, replaced by a train symbol, the radioactivity warning symbol replacing the original radio set on the cover of Radioactivity. This is in contrast to the characteristic, but still surprisingly poor availability of the group?s back catalogue. For many years it was difficult to purchase Computer World (viewed by many as seminal) on CD. The inlay card on my copy of The Man Machine is a collage selling albums by other artists, common practice on inner sleeves in the days of vinyl, but rarely seen on CD.

Such details are characteristic for a group that has occasionally, and endearingly, failed to live up to its own image of machinic self-discipline and corporate presentation: many commentators make the common mistake of assuming that Kraftwerk have hymned the machine to the exclusion of feeling, but the central theme of their oeuvre, and what continues to ensure their relevancy, is their examination of the impact of technology on humanity itself.

If you?re tempted to purchase a copy of Der Katalog on eBay, prices tend to be in the region of ?150 to ?300 and copies are rarely available.

Autobahn

Although Kraftwerk’s first three albums were groundbreaking in their own right, Autobahn is where the group’s hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing. The 22-minute title track, in a severely edited form, became an international hit single and remains the peak of the band’s achievements ? it encapsulates the band and why they are important within one track ? but the rest of the album provides soundscapes equally as intriguing. Within Autobahn, the roots of electro-funk, ambient, and synth pop are all evident ? it’s a pioneering album, even if its electronic trances might not capture the attention of all listeners.
Stephen Thomas Erlewine, AMG
?

Tracklist:
01.Autobahn (22:46)
02.Kometenmelodie 1 (6:41)
03.Kometenmelodie 2 (5:32)
04.Mitternacht (3:46)
05.Morgenspaziergang (4:02)

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Radio-Activity

A concept album exploring themes of broadcast communications, Radio-Activity marked Kraftwerk’s return to more obtuse territory, extensively utilizing static, oscillators, and even Cage-like moments of silence to approximate the sense of radio transmission; a pivotal record in the group’s continuing development, the title track ? the first they ever recorded in English ? is their most fully realized electro-pop effort to date, while “The Voice of Energy” precipitates the robot voice so crucial to their subsequent work.

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Trans Europe Express

? Although Autobahn was a left-field masterpiece, Trans-Europe Express is often cited as perhaps the archetypal (and most accessible) Kraftwerk album. Melodic themes are repeated often and occasionally interwoven over deliberate, chugging beats, sometimes with manipulated vocals; the effect is mechanical yet hypnotic. Thematically, the record feels like parts of two different concept albums: one a meditation on the disparities between reality and image (“Hall of Mirrors” and “Showroom Dummies” share recurring images of glass, reflection, illusion, and confused identities, as well as whimsical melodies), and the other the glorification of Europe. There is an impressive composition paying homage to “Franz Schubert,” but the real meat of this approach is contained in the opening love letter, “Europe Endless,” and the epic title track, which shares themes and lyrics with the following track, “Metal on Metal.” The song “Trans-Europe Express” is similar in concept to “Autobahn,” as it mimics the swaying motion and insistent drive of a cross-continent train trip. What ultimately holds the album together, though, is the music, which is more consistently memorable even than that on Autobahn. Overall, Trans-Europe Express offers the best blend of minimalism, mechanized rhythms, and crafted, catchy melodies in the group’s catalog; henceforth, their music would take on more danceable qualities only hinted at here (although the title cut provided the basis for Afrika Bambaataa’s enormously important dancefloor smash “Planet Rock”).

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The Man Machine

? The Man-Machine is closer to the sound and style that would define early new wave electro-pop ? less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, Trans-Europe Express, there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals (“The Robots,” “Spacelab,” and the title track); others take the glamour of urbanization as their subject (“Neon Lights” and “Metropolis”). Plus, there’s “The Model,” a character sketch that falls under the latter category but takes a more cynical view of the title character’s glamorous lifestyle. More pop-oriented than any of their previous work, the sound of The Man-Machine ? in particular among Kraftwerk’s oeuvre ? had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain’s later new romantic movement.

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Computer World

? The last great Kraftwerk album, Computer World captured the band right at the moment when its pioneering approach fully broke through in popular music, thanks to the rise of synth pop, hip-hop, and electro. As Arthur Baker sampled “Trans-Europe Express” for “Planet Rock” and disciples like Depeche Mode, OMD, and Gary Numan scored major hits, Computer World demonstrated that the old masters still had some last tricks up their collective sleeves. Compared to earlier albums, it fell readily in line with The Man-Machine, eschewing side-long efforts but with even more of an emphasis on shorter tracks mixed with longer but not epic compositions. While the well-established tropes of the band were used again ? electronically treated vocals, some provided by Speak and Spell toys; crisp rhythm blips; basslines and beats; haunting, quirky melodies ? there’s a ready liveliness to the songs, like the addictive “Pocket Calculator,” with its perfectly deadpan portrait of “the operator” and his favorite tool, and the almost winsome “Computer Love.” Cannily, the lyrical focus on newly accessible technology instead of cryptic futurism and vanished pasts matched this new of-the-now stance, and the result was a perfect balance between the new world of the album title and a withdrawn, bemused consideration of that world. The title track itself, with its lists detailing major organizations presumably all wired up, echoes the flow of Trans-Europe Express, serene and pondering. “Pocket Calculator” itself is more outrageously fun, thanks to the technical observation that “by pressing down a special key it plays a little melody.” Others would take the band’s advances and run with them, but with Computer World Kraftwerk ? over a decade on from their start ? demonstrated how they had stayed not merely relevant, but prescient, when nearly all their contemporaries had long since burned out.

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Techno Pop (Electric Cafe)

? Five long years after Computer World, Kraftwerk finally resurfaced with another LP, Electric Cafe; the rest of the pop music industry having finally caught up with the group’s vision, they no longer seem so innovative and inspired ? indeed, the record’s brief running time (under 36 minutes) seems indicative of a lack of ideas and new directions, with the spartan opening tracks, “Technopop” and “Musique Non-Stop,” virtually interchangeable and the remaining cuts surprisingly mainstream in both form and content.

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The Mix

? By the early ’90s, it was quite apparent just how far-reaching Kraftwerk’s influence had been. From techno to hip-hop to industrial music to house, numerous others were undeniably indebted to the group. Dance clubs had long been a key part of Kraftwerk’s following, and the dance market was the obvious target of The Mix ? a collection of highly enjoyable, often clever remixes. While novices would do better to start out with Trans-Europe Express or The Man-Machine, hardcore Kraftwerk followers shouldn’t pass up these remixes of such classics as “Trans-Europe Express,” “The Robots,” “Autobahn,” and “Radioactivity.” One could nitpick about the absence of “Neon Lights” and “Europe Endless,” but the bottom line is that this CD was a welcome addition to the Kraftwerk catalog.

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Tour De France Soundtracks

? Among electronic artists (as well as virtually the entire record industry), only Kraftwerk could construct a viable album by making only minimal adjustments to a sound they made definitive more than 30 years earlier. Tour de France Soundtracks, the group’s first record in more than 15 years, is quintessentially Kraftwerk but still fits in well with contemporary dance trends like the experimental microhouse scene (highly influenced by the group’s ultra-minimalism). The story of Tour de France Soundtracks actually begins 20 years earlier, in 1983, when Kraftwerk released the “Tour de France” single. Recorded in tribute to one of the sporting world’s most grueling events, the track was a hi-res piece of dance-pop that made lyrical reference to various biking landmarks (like the infamous mountaintop finish at Tourmalet) and an assortment of sonic references as well (including a bike chain in free spin and the belabored breathing of a bicyclist ? in rhythm, of course). Techno-Pop, the album Kraftwerk scheduled to accompany “Tour de France,” was postponed and later canceled (ironically, after a serious biking accident by Ralf H?tter, one of the group’s resident biking maniacs). The track resurfaced two decades later, just in time for the centenary anniversary of the race, though Kraftwerk still missed the deadline ? only the rejuvenated single was available during the race. It has little in common with the original, but the new “Tour de France” is impressive nonetheless, boasting the kinetic power of a 100-strong peloton, a guttural Teutonic vocoder of the type beloved by fans, and a recurring tag so sublime Jan Ullrich could hum it through each of the Tour’s 20 stages without fear of annoyance. Except for a closing reprise of the original “Tour de France,” the rest of the album isn’t as focused on biking; H?tter and Schneider construct sublime beatpieces with conceptual lines close to biking topics (“A?ro Dynamik,” “Titanium,” “Chrono,” “Vitamin”), but never confront the listener with yet another track dropping bike terms like peloton or a l’enfer du nord. “Chrono” is the track closest to the Kraftwerk ideal, with its future-shock synth and percussion precision, while “Vitamin” is the farthest away (a downbeat track that still could only have escaped from the Kling Klang studio). Tour de France Soundtracks is a successful record on anyone’s terms; it’s one that fans won’t need to cringe from, and one that newcomers will be able to enjoy for what it is.

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