February 2003 - Kraftwerk - mailman.xmission.com

Languages and politics
by Tomek 17 Jun '03

17 Jun '03

> Damn! I didnt know they spoke Italian too (according to Dual > Reaction[?])...Where do they find all the time to learn these > languages...English, > German, French, Spanish, Russian, Italian, Japanese, what else? Polish! Taschenrechner: "Jestem operator i mam swój kalkulator. Ja dodaję, odejmuję, kakuluję i komponuję. Mały klawisz naciskając i melodię wygrywając" Good! And... Die Roboter without russian, with polish "Ja twój sługa, Ja twój robotnik". In august 1981 (Poland concerts) Kraftwerk played for Solidarity. Kraftwerk fight with communism (no russian, but polish words) I have this bootleg (dzięki Tomek!) Greetings Tomasz

3 8

Interview with Ralf Hutter in Sydney transcribed
by Chris Storey 11 Mar '03

11 Mar '03

Interview with Ralf Hutter in Sydney, Australia on Friday 24 January 2003, conducted by Richard Kingsmill of Australian youth radio network Triple J. KINGSMILL: Has the technological advances that have occurred in the last 20, 30 years, has it made it easier for Kraftwerk to play live? HUTTER: Yes definitely, because now we have our laptop computers, and we can travel, where before you can imagine, in the 70s, 80s even, we had all this huge analogue music machines, UK and Europe were (inaudible) autobahn, but then flying to America, or coming to Australia was nearly impossible. KINGSMILL: Did it restrict what you could do, and how much... HUTTER: Yes, in a way, because Lufthansa wouldn't fly us in here for free, so your cargo charges and KINGSMILL: ...was too expensive HUTTER: Yeah. But now we can travel and we're really very moveable, and that's why we are here. KINGSMILL: Have you enjoyed playing live, because there's speculation amongst your fans about whether you actually do like the live performance. HUTTER: Yes, we don't do that many concerts but it's always a challenge and so far the computers have worked very well, and ... little failures here and there, but overall they have been very friendly with us and we have been friendly with the computers, so things are working very well. KINGSMILL: I noticed last night (Enmore Theatre, Sydney) just a couple of glitches along the way... and that was actually surprising to see the reaction from the audience, because there is speculation about how much of it is actually being played live on stage. HUTTER: It's all live, the computers are running live. KINGSMILL: Do you worry much about those mistakes when they happen? HUTTER: Uh, no, but there's always a risk of total failure then we would have to stop, out, and have to make a short speech, re-load, and start again. KINGSMILL: Is this part of a, resurrection if you like of Kraftwerk? You've been very quiet for, you know, the last fifteen years. HUTTER: Yes, we have been working in our studio, doing all our very very old, from the late 60s, early 70s, the analogue tapes, we have transferred it onto digital format, so we put a lot of work on our old Kraftwerk original sounds. Also now we have been doing re-masterings, which will probably come out later this year, and we have been doing all these sound files, to perform with the original Kraftwerk sounds, live, and working on those. KINGSMILL: Mmm. A lot of artists like to move on. They don't tend to like a lot of their early work, do you enjoy listening back to what you created all those years ago? HUTTER: Yeah, well we don't listen so much but we have been working in transferring the sounds, and now putting them forward into our live performance. KINGSMILL: What about the new music of Kraftwerk, is there much? HUTTER: Yes, we are working on different tracks, and when we play some more concerts on the Big Day Out festivals, then we fly back into Germany in to our Kling Klang studio, and we will continue work on the next album. KINGSMILL: Which is how much completed? HUTTER: Ohff, 99%. KINGSMILL: That close? How's it sounding? HUTTER: Kraftwerk-like. HUTTER: In Dusseldorf we work in our Kling Klang studio since 1970, and the doors are closed, and we are doing what we have to do. Our work we call ourselves musik arbeiter, KINGSMILL: ... which translates as.. HUTTER: Musical workers KINGSMILL: uh-huh HUTTER: ... and that's what we do. KINGSMILL: You are very isolated? I have read, no faxes, no phones, no contact.. HUTTER: Yes, all this would be disturbing.. KINGSMILL: So you isolate yourself as much as possible? HUTTER: Yes, for the work, and then we go out again, and we go to clubs, to dance, and we travel, we are working on all aspects of creating Kraftwerk, that's the one thing we do, we have never been able to do other things. KINGSMILL: When you and Florian are working in such an intense environment in creating pieces of music which would take.... would they take maybe years to create? HUTTER: Yes, sometimes, and then we put them away, and listen back again, and do other things, KINGSMILL: ... and then change them slightly.. HUTTER: yes, KINGSMILL: It must be very refreshing then to finally get out of the studio and take it to people.. HUTTER: Definitely, yeah.. Well we... in the first place we are live musicians.. KINGSMILL: Mmm, because you and Florian met at conservatory.. HUTTER: Yes KINGSMILL: Was it in Dusseldorf or Cologne? HUTTER: Outside of Dusseldorf, there was having some improvisational courses, so we just hooked up together and did stuff. '68. And then we organised a loose collection of musicians, and around 1970 we built our Kling Klang studio and Kraftwerk, and from there on we have been working all the time, until now. KINGSMILL: Do you listen to a lot of other artists for inspiration? HUTTER: Well we hear music all around, we hear the sounds of the environment, we hear the aeroplanes, we hear the cars, we hear the cities, we go to clubs, we hear when we are in the festival, so we are picking up vibes from over all. Our ears are microphones. KINGSMILL: Yes. Well reproducing reality is I think ... (inaudible) years ago you said , is that still the role for Kraftwerk? HUTTER: Yes. Well we take from our experiences, like travelling through Europe, that's where Trans Europe Express comes from, Autobahn comes from hundreds of thousands of miles on the autobahn... KINGSMILL: .... and of course Tour De France.. HUTTER: .. Tour de France comes from our cycling experience, and we've been, er, the music has been the official music of the Tour de France when it came out. KINGSMILL: A couple of questions from people, because there's lots of fans of Kraftwerk here [at JJJ]. Robbie wanted me to ask you about when you first heard Afrika Bambaataa's Planet Rock, which had heavily sampled your piece from the 70s... HUTTER: It's not sampled, it's replayed. KINGSMILL: ... replayed with the rappers over the top of it. How did you feel when that, that was obviously crossing over into another generation.. HUTTER: Well, we have been hearing Bambaataa many years before. Our first experience was when he was playing Trans Europe Express and Metal On Metal on 2 discs in a club, and they were experimenting with two record players, and they had two pressings, and so he was doing that, and from there I knew there were things going on, and then he did that rap record, and Trans Europe Express. KINGSMILL: Did you find it exciting? HUTTER: Yes, it's a very, very good record. KINGSMILL: Yes, well its just a completely different generation and also culture that was picking up on your music. Was that strange for you? HUTTER: Er, in a way, not, because we had always been accused of our music being cold, and repetitive, and boring and very machinistic, and we always found there was soul in the machines, and then one day when these records came out it was proven that there is soul to the sequencers of Kraftwerk. KINGSMILL: And another question, just to sort of wind up.. the future is something which Craig who works here wanted me to ask you about. When you were little, when you were young, did you think much about the future? HUTTER: Maybe we thought more about the present, because living in Germany we were the first post-war generation, and so there was a cultural emptiness, which we discovered at puberty, and in the first place there was a little culture shock, living in this total emptiness, but from there on it was an enormous chance, so we could make it up, we made up our own living culture, everyday culture, we call eitaks kutuur, and that was a very big chance. There was no big entertainment scene, or musical scene, of course there was the classical music from way back the 19th century, and there was a electronic music scene around the radio stations, maybe those combinations of situation inspired us to make up our own music. Everyday electronics. KINGSMILL: Yeah, well there was scene coming up, but it was a rebuilding wasn't it? Of culture, and of ideas? It must have been very exciting. HUTTER: Yes, it was an enormous chance in those days. KINGSMILL: Do you think much about the future now. There's been so much that's happened in 20 years, what do you think is going to happen in the next 20 years? HUTTER: Oh we have to see, be awake, and keep your eyes and ears open, and we'll see. Transcribed by Peter Page

4 4

Jonas Akerlund
by Andréas Hagström 27 Feb '03

27 Feb '03

There was an intervjue in Swedish TV today with music-video producer Jonas Akerlund. And in the background in his office you could see the four photos of the dummies by Corbijn. /AndrÃ©as _________________________________________________________________ Skaffa fler messengerkontakter - Vinn 10.000 i resecheckar! http://messenger.msn.se/promo

1 0

A440 vs. Autobahn?
by Soleil Lapierre 27 Feb '03

27 Feb '03

Anyone else heard "Altamont Super Highway, Revisited" from the Apollo 440 album "Electro Glide in Blue"? Is it just me or is it a remix of Autobahn? I don't mean just the baseline either - the main melody reminds me a lot of Autobahn too, though it's clearly quite different. Or am I hallucinating? -- /* Soleil */

2 2

RE: Kraftwerk digest, Vol 1 #486 - 8 msgs
by Marston, Richard 26 Feb '03

26 Feb '03

> From: "Toby Frith" <toby.frith(a)telegraph.co.uk> / Date: Tue, 25 Feb 2003 > 14:22:56 -0000 / Subject: [Kraftwerk] Biba Kop - German Road Music > >Does anyone have a link to an essay written by The Wire's Biba Kopf on = > German Road music? > ----- I believe that edition of the magazine had an interview with Stockhausen "Interstellar fugitive" (or some such title) as its main article and cover, in case you need to hunt down a back issue. The Biba Kopf piece wasn't very interesting IMO, but did have a big photo of KW like the one on the back of the 1980s re-release Autobahn. Sadly I threw my copy of that issue out a couple of months ago, or I could have sent it on!... This email may contain confidential material. If you were not an intended recipient, please notify the sender and delete all copies. We may monitor email to and from our network.

1 0

(no subject)
by Chris Storey 26 Feb '03

26 Feb '03

Hello from Sydney For a short time only an mp3 of the Australian radio interview with Ralf Hutter can be downloaded at the following URL: http://homepage.mac.com/ianpage/FileSharing3.html Be quick, it will only be there for a few days. Regards Peter Page

7 13

Biba Kop - German Road Music
by Toby Frith 25 Feb '03

25 Feb '03

Does anyone have a link to an essay written by The Wire's Biba Kopf on German Road music? Thanks in advance Toby www.bleep43.com

1 0

DV to SVCD
by Chris Storey 25 Feb '03

25 Feb '03

I have this Big Day Out TV show with Kraftwerk and I can't get the software to record the audio, so would someone on the list like to have a go at transferring from Digital Video Tape to SVCD for me and others who want a copy. Cheers Chris....

3 2

Re: Kraftwerk digest, Vol 1 #484 - 7 msgs
by Oystein Moe 25 Feb '03

25 Feb '03

Toby put; >hmmm - but looking at the old material, they steadfastly refused to be >drawn >into topics that were of an overtly political nature. >Only "Radioactivity" >and "Computer World" are really political, and even then it's from an >observer's standpoint. They're not making a statement of intent as it were. Errm... They have become more politically outspoken through the nineties, what with "Stop" in Radioactivity, and then the Sellafield track... so if they are opposing the usage of technology in war, it is possible they would say so... And of course, it is possible that they would not. Cor, the Sellafield track is possibly the strongest piece of political music I have heard, it sends me into a cold sweat every time I hear it. Particularly (?) live, you're standing in front of the stage, enjoying yourself and all of a sudden, you're reminded that everything is not so jolly... I read in the papers yesterday that the damages in Norway from Sellafield have surpassed those of Chernobyl. _________________________________________________________________ MSN Messenger http://www.msn.no/messenger - Den korteste veien mellom deg og dine venner

2 1

Re: [Kraftwerk] Interview with Ralf Hutter in Sydney transcribed
by Chris Storey 25 Feb '03

25 Feb '03

Hi Sorry for posting in html I forgot.... All credit must go to Peter Page he is the one that did the transcribing not me. Cheers Chris.... ----- Original Message ----- From: "Oh Jay" <oh_jay(a)freenet.de> To: <chrisstorey(a)iprimus.com.au> Sent: Tuesday, February 25, 2003 12:39 AM Subject: Re: [Kraftwerk] Interview with Ralf Hutter in Sydney transcribed > thanx for the interview transcription , chris ... but why the heck do u still > post your messages in html format to this list , as it totally screws up the > daily digests ( see below for another example of it !!! :-o ) !? *jus'_curious* > > it's actually a real pain to read through such garbled digests !!! *sigh* :-o > > however ... many greetinx , > > oh jay ;-) > > *~\^/~* > > > > Message: 1 > > From: "Chris Storey" <chrisstorey(a)iprimus.com.au> > > To: <kraftwerk(a)mailman.xmission.com> > > Date: Mon, 24 Feb 2003 22:59:49 +1100 > > Subject: [Kraftwerk] Interview with Ralf Hutter in Sydney transcribed > > Reply-To: kraftwerk(a)mailman.xmission.com > > > > This is a multi-part message in MIME format. > > > > ------=_NextPart_000_0058_01C2DC58.6E9ED150 > > Content-Type: text/plain; > > charset="iso-8859-1" > > Content-Transfer-Encoding: quoted-printable > > > > > > Interview with Ralf Hutter in Sydney, Australia on Friday 24 January = > > 2003, > > conducted by Richard Kingsmill of Australian youth radio network Triple = > > J. > > > > KINGSMILL: Has the technological advances that have occurred in the last = > > 20, > > 30 years, has it made it easier for Kraftwerk to play live? > > > > HUTTER: Yes definitely, because now we have our laptop computers, and we = > > can > > travel, where before you can imagine, in the 70s, 80s even, we had all = > > this > > huge analogue music machines, UK and Europe were (inaudible) autobahn, = > > but > > then flying to America, or coming to Australia was nearly impossible.=20 > > > > KINGSMILL: Did it restrict what you could do, and how much... > > > > HUTTER: Yes, in a way, because Lufthansa wouldn't fly us in here for = > > free, > > so your cargo charges and > > > > KINGSMILL: ...was too expensive > > > > HUTTER: Yeah. But now we can travel and we're really very moveable, and > > that's why we are here. > > > > KINGSMILL: Have you enjoyed playing live, because there's speculation > > amongst your fans about whether you actually do like the live = > > performance. > > > > HUTTER: Yes, we don't do that many concerts but it's always a challenge = > > and > > so far the computers have worked very well, and ... little failures here = > > and > > there, but overall they have been very friendly with us and we have been > > friendly with the computers, so things are working very well. > > > > KINGSMILL: I noticed last night (Enmore Theatre, Sydney) just a couple = > > of > > glitches along the way... and that was actually surprising to see the > > reaction from the audience, because there is speculation about how much = > > of > > it is actually being played live on stage. > > > > HUTTER: It's all live, the computers are running live. > > > > KINGSMILL: Do you worry much about those mistakes when they happen? > > > > HUTTER: Uh, no, but there's always a risk of total failure then we would > > have to stop, out, and have to make a short speech, re-load, and start > > again. > > > > KINGSMILL: Is this part of a, resurrection if you like of Kraftwerk? = > > You've > > been very quiet for, you know, the last fifteen years. > > > > HUTTER: Yes, we have been working in our studio, doing all our very very > > old, from the late 60s, early 70s, the analogue tapes, we have = > > transferred > > it onto digital format, so we put a lot of work on our old Kraftwerk > > original sounds. Also now we have been doing re-masterings, which will > > probably come out later this year, and we have been doing all these = > > sound > > files, to perform with the original Kraftwerk sounds, live, and working = > > on > > those.=20 > > > > KINGSMILL: Mmm. A lot of artists like to move on. They don't tend to = > > like a > > lot of their early work, do you enjoy listening back to what you created = > > all > > those years ago? > > > > HUTTER: Yeah, well we don't listen so much but we have been working in > > transferring the sounds, and now putting them forward into our live > > performance. > > > > KINGSMILL: What about the new music of Kraftwerk, is there much? > > > > HUTTER: Yes, we are working on different tracks, and when we play some = > > more > > concerts on the Big Day Out festivals, then we fly back into Germany in = > > to > > our Kling Klang studio, and we will continue work on the next album. > > > > KINGSMILL: Which is how much completed? > > > > HUTTER: Ohff, 99%. > > > > KINGSMILL: That close? How's it sounding? > > > > HUTTER: Kraftwerk-like. > > > > HUTTER: In Dusseldorf we work in our Kling Klang studio since 1970, and = > > the > > doors are closed, and we are doing what we have to do. Our work we call > > ourselves musik arbeiter,=20 > > > > KINGSMILL: ... which translates as..=20 > > > > HUTTER: Musical workers > > > > KINGSMILL: uh-huh > > > > HUTTER: ... and that's what we do.=20 > > > > KINGSMILL: You are very isolated? I have read, no faxes, no phones, no > > contact.. > > > > HUTTER: Yes, all this would be disturbing.. > > > > KINGSMILL: So you isolate yourself as much as possible? > > > > HUTTER: Yes, for the work, and then we go out again, and we go to clubs, = > > to > > dance, and we travel, we are working on all aspects of creating = > > Kraftwerk, > > that's the one thing we do, we have never been able to do other things.=20 > > > > KINGSMILL: When you and Florian are working in such an intense = > > environment > > in creating pieces of music which would take.... would they take maybe = > > years > > to create? > > > > HUTTER: Yes, sometimes, and then we put them away, and listen back = > > again, > > and do other things,=20 > > > > KINGSMILL: ... and then change them slightly.. > > > > HUTTER: yes,=20 > > > > KINGSMILL: It must be very refreshing then to finally get out of the = > > studio > > and take it to people.. > > > > HUTTER: Definitely, yeah.. Well we... in the first place we are live > > musicians.. > > > > KINGSMILL: Mmm, because you and Florian met at conservatory.. > > > > HUTTER: Yes > > > > KINGSMILL: Was it in Dusseldorf or Cologne? > > > > HUTTER: Outside of Dusseldorf, there was having some improvisational > > courses, so we just hooked up together and did stuff. '68. And then we > > organised a loose collection of musicians, and around 1970 we built our > > Kling Klang studio and Kraftwerk, and from there on we have been working = > > all > > the time, until now. > > > > KINGSMILL: Do you listen to a lot of other artists for inspiration? > > > > HUTTER: Well we hear music all around, we hear the sounds of the > > environment, we hear the aeroplanes, we hear the cars, we hear the = > > cities, > > we go to clubs, we hear when we are in the festival, so we are picking = > > up > > vibes from over all. Our ears are microphones.=20 > > > > KINGSMILL: Yes. Well reproducing reality is I think ... (inaudible) = > > years > > ago you said , is that still the role for Kraftwerk? > > > > HUTTER: Yes. Well we take from our experiences, like travelling through > > Europe, that's where Trans Europe Express comes from, Autobahn comes = > > from > > hundreds of thousands of miles on the autobahn... > > > > KINGSMILL: .... and of course Tour De France.. > > > > HUTTER: .. Tour de France comes from our cycling experience, and we've = > > been, > > er, the music has been the official music of the Tour de France when it = > > came > > out. > > > > KINGSMILL: A couple of questions from people, because there's lots of = > > fans > > of Kraftwerk here [at JJJ]. Robbie wanted me to ask you about when you = > > first > > heard Afrika Bambaataa's Planet Rock, which had heavily sampled your = > > piece > > from the 70s... > > > > HUTTER: It's not sampled, it's replayed. > > > > KINGSMILL: ... replayed with the rappers over the top of it. How did you > > feel when that, that was obviously crossing over into another = > > generation.. > > > > HUTTER: Well, we have been hearing Bambaataa many years before. Our = > > first > > experience was when he was playing Trans Europe Express and Metal On = > > Metal > > on 2 discs in a club, and they were experimenting with two record = > > players, > > and they had two pressings, and so he was doing that, and from there I = > > knew > > there were things going on, and then he did that rap record, and Trans > > Europe Express. > > > > KINGSMILL: Did you find it exciting? > > > > HUTTER: Yes, it's a very, very good record.=20 > > > > KINGSMILL: Yes, well its just a completely different generation and also > > culture that was picking up on your music. Was that strange for you? > > > > HUTTER: Er, in a way, not, because we had always been accused of our = > > music > > being cold, and repetitive, and boring and very machinistic, and we = > > always > > found there was soul in the machines, and then one day when these = > > records > > came out it was proven that there is soul to the sequencers of = > > Kraftwerk.=20 > > > > KINGSMILL: And another question, just to sort of wind up.. the future is > > something which Craig who works here wanted me to ask you about. When = > > you > > were little, when you were young, did you think much about the future? > > > > HUTTER: Maybe we thought more about the present, because living in = > > Germany > > we were the first post-war generation, and so there was a cultural > > emptiness, which we discovered at puberty, and in the first place there = > > was > > a little culture shock, living in this total emptiness, but from there = > > on it > > was an enormous chance, so we could make it up, we made up our own = > > living > > culture, everyday culture, we call eitaks kutuur, and that was a very = > > big > > chance. There was no big entertainment scene, or musical scene, of = > > course > > there was the classical music from way back the 19th century, and there = > > was > > a electronic music scene around the radio stations, maybe those = > > combinations > > of situation inspired us to make up our own music. Everyday electronics. = > > > > > > KINGSMILL: Yeah, well there was scene coming up, but it was a rebuilding > > wasn't it? Of culture, and of ideas? > > It must have been very exciting. > > > > HUTTER: Yes, it was an enormous chance in those days. > > > > KINGSMILL: Do you think much about the future now. There's been so much > > that's happened in 20 years, what do you think is going to happen in = > > the > > next 20 years? > > > > HUTTER: Oh we have to see, be awake, and keep your eyes and ears open, = > > and > > we'll see. > > > > Transcribed by Peter Page > > > > ------=_NextPart_000_0058_01C2DC58.6E9ED150 > > Content-Type: text/html; > > charset="iso-8859-1" > > Content-Transfer-Encoding: quoted-printable > > > > <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> > > <HTML><HEAD> > > <META http-equiv=3DContent-Type content=3D"text/html; = > > charset=3Diso-8859-1"> > > <META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR> > > <STYLE></STYLE> > > </HEAD> > > <BODY bgColor=3D#ffffff> > > <DIV> Interview with Ralf Hutter in Sydney, Australia on Friday 24 = > > January=20 > > 2003, conducted by Richard Kingsmill of Australian youth radio = > > network Triple=20 > > J. KINGSMILL: Has the technological advances that have occurred = > > in the=20 > > last 20, 30 years, has it made it easier for Kraftwerk to play=20 > > live? HUTTER: Yes definitely, because now we have our laptop = > > computers,=20 > > and we can travel, where before you can imagine, in the 70s, 80s = > > even, we had=20 > > all this huge analogue music machines, UK and Europe were (inaudible) = > > > > autobahn,  but then flying to America, or coming to Australia = > > was nearly=20 > > impossible. KINGSMILL: Did it restrict what you could do, and = > > how=20 > > much... HUTTER: Yes, in a way, because Lufthansa wouldn't fly us = > > in here=20 > > for free, so your cargo charges and KINGSMILL: ...was too=20 > > expensive HUTTER: Yeah. But now we can travel and we're really = > > very=20 > > moveable, and that's why we are here. KINGSMILL: Have you = > > enjoyed=20 > > playing live, because there's speculation amongst your fans about = > > whether you=20 > > actually do like the live performance. HUTTER: Yes, we don't do = > > that many=20 > > concerts but it's always a challenge and so far the computers have = > > worked=20 > > very well, and ... little failures here and there, but overall they = > > have been=20 > > very friendly with us and we have been friendly with the computers, = > > so things=20 > > are working very well. KINGSMILL: I noticed last night (Enmore = > > Theatre,=20 > > Sydney) just a couple of glitches along the way... and that was = > > actually=20 > > surprising to see the reaction from the audience, because there is=20 > > speculation about how much of it is actually being played live on=20 > > stage. HUTTER: It's all live, the computers are running=20 > > live. KINGSMILL: Do you worry much about those mistakes when they = > > > > happen? HUTTER: Uh, no, but there's always a risk of total = > > failure then=20 > > we would have to stop, out, and have to make a short speech, re-load, = > > and=20 > > start again. KINGSMILL: Is this part of a, resurrection if you = > > like of=20 > > Kraftwerk? You've been very quiet for, you know, the last fifteen=20 > > years. HUTTER: Yes, we have been working in our studio, doing all = > > our=20 > > very very old, from the late 60s, early 70s, the analogue tapes, we = > > have=20 > > transferred it onto digital format, so we put a lot of work on our = > > old=20 > > Kraftwerk original sounds. Also now we have been doing re-masterings, = > > which=20 > > will probably come out later this year, and we have been doing all = > > these=20 > > sound files, to perform with the original Kraftwerk sounds, live, and = > > working=20 > > on those. KINGSMILL: Mmm. A lot of artists like to move on. = > > They=20 > > don't tend to like a lot of their early work, do you enjoy listening = > > back to=20 > > what you created all those years ago? HUTTER: Yeah, well we = > > don't=20 > > listen so much but we have been working in transferring the sounds, = > > and now=20 > > putting them forward into our live performance. KINGSMILL: = > > What about=20 > > the new music of Kraftwerk, is there much? HUTTER: Yes, we are = > > working on=20 > > different tracks, and when we play some more concerts on the Big Day = > > Out=20 > > festivals, then we fly back into Germany in to our Kling Klang = > > studio, and we=20 > > will continue work on the next album. KINGSMILL: Which is how = > > much=20 > > completed? HUTTER: Ohff, 99%. KINGSMILL: That close? How's = > > it=20 > > sounding? HUTTER: Kraftwerk-like. HUTTER: In Dusseldorf we = > > work in=20 > > our Kling Klang studio since 1970, and the doors are closed, and we = > > are doing=20 > > what we have to do. Our work we call ourselves musik arbeiter,=20 > > KINGSMILL: ... which translates as.. HUTTER: Musical=20 > > workers KINGSMILL: uh-huh HUTTER: ... and that's what we = > > do.=20 > > KINGSMILL: You are very isolated? I have read, no faxes, no = > > phones,=20 > > no contact.. HUTTER: Yes, all this would be=20 > > disturbing.. KINGSMILL: So you isolate yourself as much as=20 > > possible? HUTTER: Yes, for the work, and then we go out again, = > > and we go=20 > > to clubs, to dance, and we travel, we are working on all aspects of = > > creating=20 > > Kraftwerk, that's the one thing we do, we have never been able to do = > > other=20 > > things. KINGSMILL: When you and Florian are working in such an = > > intense=20 > > environment in creating pieces of music which would take.... would = > > they take=20 > > maybe years to create? HUTTER: Yes, sometimes, and then we put = > > them=20 > > away, and listen back again, and do other things, KINGSMILL: = > > ... and=20 > > then change them slightly.. HUTTER: yes, KINGSMILL: It = > > must be=20 > > very refreshing then to finally get out of the studio and take it to=20 > > people.. HUTTER: Definitely, yeah.. Well we... in the first place = > > we are=20 > > live musicians.. KINGSMILL: Mmm, because you and Florian  = > > met at=20 > > conservatory.. HUTTER: Yes KINGSMILL: Was it in Dusseldorf = > > or=20 > > Cologne? HUTTER: Outside of Dusseldorf, there was having some=20 > > improvisational courses, so we just hooked up together and did stuff. = > > '68.=20 > > And then we organised a loose collection of musicians, and around = > > 1970 we=20 > > built our Kling Klang studio and Kraftwerk, and from there on we have = > > been=20 > > working all the time, until now. KINGSMILL: Do you listen to a = > > lot of=20 > > other artists for inspiration? HUTTER: Well we hear music all = > > around, we=20 > > hear the sounds of the environment, we hear the aeroplanes, we hear = > > the cars,=20 > > we hear the cities, we go to clubs, we hear when we are in the = > > festival, so=20 > > we are picking up vibes from over all. Our ears are microphones.=20 > > KINGSMILL: Yes. Well reproducing reality is I think ... = > > (inaudible)=20 > > years ago you said , is that still the role for = > > Kraftwerk? HUTTER:=20 > > Yes. Well we take from our experiences, like travelling = > > through Europe,=20 > > that's where Trans Europe Express comes from, Autobahn comes = > > from hundreds of=20 > > thousands of miles on the autobahn... KINGSMILL: .... and of = > > course Tour=20 > > De France.. HUTTER: .. Tour de France comes from our cycling = > > experience,=20 > > and we've been, er, the music has been the official music of the Tour = > > de=20 > > France when it came out. KINGSMILL: A couple of questions from = > > people,=20 > > because there's lots of fans of Kraftwerk here [at JJJ]. Robbie = > > wanted me to=20 > > ask you about when you first heard Afrika Bambaataa's Planet Rock, = > > which had=20 > > heavily sampled your piece from the 70s... HUTTER: It's not = > > sampled,=20 > > it's replayed. KINGSMILL: ... replayed with the rappers over the = > > top of=20 > > it. How did you feel when that, that was obviously crossing over into = > > another=20 > > generation.. HUTTER: Well, we have been hearing Bambaataa many = > > years=20 > > before. Our first experience was when he was playing Trans Europe = > > Express and=20 > > Metal On Metal on 2 discs in a club, and they were experimenting with = > > two=20 > > record players, and they had two pressings, and so he was doing that, = > > and=20 > > from there I knew there were things going on, and then he did that = > > rap=20 > > record, and Trans Europe Express. KINGSMILL: Did you find it=20 > > exciting? HUTTER: Yes, it's a very, very good record. = > > KINGSMILL:=20 > > Yes, well its just a completely different generation and also culture = > > that=20 > > was picking up on your music. Was that strange for you? HUTTER: = > > Er, in a=20 > > way, not, because we had always been accused of our music being cold, = > > and=20 > > repetitive, and boring and very machinistic, and we always found = > > there was=20 > > soul in the machines, and then one day when these records came out it = > > was=20 > > proven that there is soul to the sequencers of Kraftwerk. = > > KINGSMILL: And=20 > > another question, just to sort of wind up.. the future is something = > > which=20 > > Craig who works here wanted me to ask you about. When you were = > > little, when=20 > > you were young, did you think much about the future? HUTTER: = > > Maybe we=20 > > thought more about the present, because living in Germany we were the = > > first=20 > > post-war generation, and so there was a cultural emptiness, which we=20 > > discovered at puberty, and in the first place there was a little = > > culture=20 > > shock, living in this total emptiness, but from there on it was an = > > enormous=20 > > chance, so we could make it up, we made up our own living culture, = > > everyday=20 > > culture, we call eitaks kutuur, and that was a very big chance. There = > > was no=20 > > big entertainment scene, or musical scene, of course there was the = > > classical=20 > > music from way back the 19th century, and there was a electronic = > > music scene=20 > > around the radio stations, maybe those combinations of situation = > > inspired us=20 > > to make up our own music. Everyday electronics. KINGSMILL: Yeah, = > > well=20 > > there was scene coming up, but it was a rebuilding wasn't it? Of = > > culture, and=20 > > of ideas? It must have been very exciting. HUTTER: Yes, it was = > > an=20 > > enormous chance in those days. KINGSMILL: Do you think much about = > > the=20 > > future now. There's been so much that's happened in  20 years, = > > what do=20 > > you think is going to happen in the next 20 years? HUTTER: Oh = > > we have=20 > > to see, be awake, and keep your eyes and ears open, and we'll=20 > > see. Transcribed by Peter Page</DIV></BODY></HTML> > > > > ------=_NextPart_000_0058_01C2DC58.6E9ED150-- > > > > > > > > --__--__-- > > > > Message: 2 > > From: "Chris Storey" <chrisstorey(a)iprimus.com.au> > > To: <kraftwerk(a)mailman.xmission.com> > > Date: Mon, 24 Feb 2003 23:48:31 +1100 > > Subject: [Kraftwerk] DV to SVCD > > Reply-To: kraftwerk(a)mailman.xmission.com > > > > This is a multi-part message in MIME format. > > > > ------=_NextPart_000_00A3_01C2DC5F.3CBBCE20 > > Content-Type: text/plain; > > charset="iso-8859-1" > > Content-Transfer-Encoding: quoted-printable > > > > I have this Big Day Out TV show with Kraftwerk and I can't get the = > > software to record the audio, so would someone on the list like to have = > > a go at transferring from Digital Video Tape to SVCD for me and others = > > who want a copy. > > > > Cheers > > Chris.... > > > > > > ------=_NextPart_000_00A3_01C2DC5F.3CBBCE20 > > Content-Type: text/html; > > charset="iso-8859-1" > > Content-Transfer-Encoding: quoted-printable > > > > <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> > > <HTML><HEAD> > > <META http-equiv=3DContent-Type content=3D"text/html; = > > charset=3Diso-8859-1"> > > <META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR> > > <STYLE></STYLE> > > </HEAD> > > <BODY bgColor=3D#ffffff> > > <DIV>I have this Big Day Out TV show with = > > Kraftwerk and=20 > > I can't get the software to record the audio, so would someone on the = > > list like=20 > > to have a go at transferring from Digital Video Tape to SVCD for me and = > > others=20 > > who want a copy.</DIV> > > <DIV> </DIV> > > <DIV>Cheers</DIV> > > <DIV>Chris....</DIV> > > <DIV> </DIV></BODY></HTML> > > > > ------=_NextPart_000_00A3_01C2DC5F.3CBBCE20-- > > > > > > > > --__--__-- > > > > Message: 3 > > From: "Toby Frith" <toby.frith(a)telegraph.co.uk> > > To: <kraftwerk(a)mailman.xmission.com> > > Date: Mon, 24 Feb 2003 12:49:15 -0000 > > Organization: Telegraph Group Limited > > Subject: [Kraftwerk] Opinions on next LP theme - speculation > > Reply-To: kraftwerk(a)mailman.xmission.com > > > > This is a multi-part message in MIME format. > > > > ------=_NextPart_000_0300_01C2DC03.237B7020 > > Content-Type: text/plain; > > charset="iso-8859-1" > > Content-Transfer-Encoding: quoted-printable > > > > IF and when Kraftwerk bring out a new LP, what do listmembers think the = > > "theme" will be about?=20 > > > > "expo 2000" was quite ephemeral in its "global village" concept - will = > > it be along the same lines? > > > > > > www.bleep43.com > > > > > > > > ------=_NextPart_000_0300_01C2DC03.237B7020 > > Content-Type: text/html; > > charset="iso-8859-1" > > Content-Transfer-Encoding: quoted-printable > > > > <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> > > <HTML><HEAD> > > <META http-equiv=3DContent-Type content=3D"text/html; = > > charset=3Diso-8859-1"> > > <META content=3D"MSHTML 5.50.4807.2300" name=3DGENERATOR> > > <STYLE></STYLE> > > </HEAD> > > <BODY bgColor=3D#ffffff> > > <DIV>IF and when Kraftwerk bring out a new = > > LP, what do=20 > > listmembers think the "theme" will be about? </DIV> > > <DIV> </DIV> > > <DIV>"expo 2000" was quite ephemeral in = > > its "global=20 > > village" concept - will it be along the same lines?</DIV> > > <DIV> </DIV> > > <DIV> </DIV> > > <DIV><A=20 > > href=3D"http://www.bleep43.com">www.bleep43.com</A></DIV> > > <DIV> </DIV> > > <DIV> </DIV></BODY></HTML> > > > > ------=_NextPart_000_0300_01C2DC03.237B7020-- > > > > > > > > > > --__--__-- > > > > _______________________________________________ > > Kraftwerk mailing list > > Kraftwerk(a)mailman.xmission.com > > http://mailman.xmission.com/cgi-bin/mailman/listinfo/kraftwerk > > > > > > End of Kraftwerk Digest > > > >

1 0