Dear Kraftwerk Fans,
I wish you all good health, happiness and godspeed for the new year
- Cyborg, bcass, Keep Werking and 14 others like this
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Posted by rasputin on 04 January 2014 - 01:48 AM
Dear Kraftwerk Fans,
I wish you all good health, happiness and godspeed for the new year
Posted by piąty on 03 July 2013 - 12:58 AM
Now, five days after the concert in Poznan I calmed down. I won`t write another review. I was in the frontline, I saw and heard everything very well, as you, who were there, but the best thing happened to me on Saturday. I was looking for my platform on the railway station, when suddenly I noticed Ralf Hutter, Falk Grieffenhagen and Joerg Menningmann. They were standing, waiting for their train to Berlin. I started the conversation, but didn`t count on anything from their side. I was so wrong! Ralf Hutter was in very good mood, relaxed, smiled, even talkative! Mr. Grieffenhagen and Mr. Menningmann were also very kind. They started to look for the right platform and I stayed only with Mr. Ralf Hütter for a moment. I asked him many questions. He told me that they travel to Berlin, because they start to work hard on the 3D exhibition, which will take a place in Berlin from July 5th. We were talking about concert plans also. Mr. Ralf told me that Kraftwerk begins preparations for the next Retrospective shows, but now they are looking for a good place, "international museum", as he said, but we cannot expect German version of the Catalogue 1 2 3 4 5 6 7 8 show this year, so the concerts in Germany are not in plan. I didn`t ask about the 9th album, because I could expect the answer. I asked for the photo two times, but he kindly refused. He even asked me for help in looking for the right platform! I did it with the highest pleasure. We were talking for about 10 minutes, but i felt like it was maybe half an hour . Then the train arrived ("Trans Europa Express" Mr. Ralf Hütter was joking) and they left Poznan and me on the platform. "What a day" I thought. It happened on Saturday, June 29th, at about 10:30 a.m. on the main railway station of Poznan City.
Posted by Takachi ALP on 16 August 2014 - 03:18 AM
Last month, Ryuichi Sakamoto announced he was diagnosed with throat cancer and cancelled his future tour dates in order to focus on his recovery.
According to it, Ralf told a message towards Ryuichi in Japanese on the stage before performance "Radioactivity".
"My friend Sakamoto Ryuichi - san. I Hope your speedy and full recovery."
Posted by Starbug on 02 June 2013 - 05:11 PM
To summarize what has been figured out so far, with some of my own additions (see screenshots below for reference):
This is what I could take away from the video and what people have found out so far. Feel free to help out filling in the details! I may have missed some "special keys", since it's hard to make out some details in the video. The recent live videos from revealing angles should provide some additional hints if close attention is paid to what they are doing live, and comparison to some earlier revealing shots like on the Minimum Maximum DVD (if I recall correctly, Planet of Visions, Autobahn and Aero Dynamik MTV have the best shots) would be interesting too, if only to show how much has changed in 10 years.
Ralf's console is really simple, seems like he doesn't really have anything to worry about other than his own live performance. He even has a big tray for peanuts on the right! The keyboard lines he plays appears to be layered on top of pre-programmed ones much of the time, preventing simple mistakes from being clearly noticeable. But I could be wrong...
Henning really appears to be playing some of the lead synth lines on his keyboard though, like on Radioactivity and Tour de France '83, yet I can never recall hearing a missed note. Man-machine indeed!
Fritz has the most work to do it seems, using that iPad and ribbon controller all the time. I'm assuming he and Henning have different Cubase views running on their main screens.
Falk's console is very interesting, I suppose that MIDI controller could be just for the visuals but maybe he has some audio controls too. His console seems to have more equipment on it than Florian or Stefan had (both of which had plenty of space for a bottle of water for instance).
I think a really interesting insight to take away from this (although we kind of knew already) is that these consoles are extremely customizable and each performer makes it their own. It's not like Falk had to use all of Stefan's gear because it was built like that in the Kling Klang studio. In theory, without much technical work required any member of the live support staff could be "promoted" to stand on stage with their personal equipment if someone in the current lineup is missing, and any of them could just as well do their work from behind the stage or the mixing desk if they wanted to. Well, except for Ralf of course, it wouldn't be much of a Kraftwerk concert without him up there on the left end...
Posted by 808 on 10 April 2014 - 02:07 AM
I know this is more than a week after the show that I'm posting this, but I had to do three things before I could write this. 1.) Return home to Massachusetts 2.) Recover from all the exhaustion from this vacation/adventure I had. 3.) Get my wi-fi connection at home to start working again. I can tell you about what else I did on this adventure I had, as well as the story on how I had to buy a ticket to see Kraftwerk (if you like), but I'll, at least, post my report on my experience seeing Kraftwerk, so here it goes...
I arrived at the entrance to the United Palace a little before 5PM. I went to walk around the building to explore, and I could hear them doing soundcheck as I was walking behind the United Palace. "Metropolis" was playing. That was a sure sign Ralf and the others are there!
Back at the entrance, waiting for the doors to open (still pretty early), I could barely see some of the visuals through the doorway inside the venue (The entrance had windowed doors). I could see a portion of some of the flashing, red and white pixilated letters. Doesn't that sound like "The Robots"? I knew it was going to be a historic night in my life. ^^
Minutes before 6:30, a guy comes out to pass out 3D glasses to those waiting in line. Yep, we're getting closer...
Doors open 20 minutes later than scheduled, but nonetheless, I was already prepared for the first thing I was going to do when I got inside, go directly to the merchandise table and buy something. I got a Man Machine t-shirt at the largest available size, XL (I'm 2XL, but it still fits fine).
7:15 - Fifteen minutes before the time the show's about to start, and I LITERALLY felt like an 8-year old on caffeine! I had such an excitement overload, I had to tell those I was sitting next to and behind that I was going to go ABSOLUTELY NUTS during the show! The show actually started at 7:50 with the robotic voice introducing Kraftwerk and the curtain opening. LET THE AWESOMENESS COMMENCE!!!
A few notes about the concert during certain songs:
"The Robots" - The song started off slow for the first few seconds before the tempo grew faster. There I was dancing like a robot in my seat singing the lyrics. The girl next to me seemed to have a good time! We were having fun that was on steroids!
"Numbers"/"Computer World"/back to "Numbers" - I was as happy as I could get saying the numbers 1 through 8 in German as they appeared on the screen. I was pointing to each of the numbers they were saying as they highlighted. I was like a toddler watching Big Bird sing. In short....I was just plain amused! Teeheeheehee.....
"The Man Machine" - Just like how "The Robots" started, "The Man Machine began at a low tempo for the first few seconds of the song before speeding up to its default tempo. I just thought I'd throw that in this report.
"Spacelab" - I was rather surprised they were going to play this. On the screen, you gotta love that view of the Earth's horizon. You also gotta love the reaction from the audience when the 3D satellite came zooming in. The video for the song ended with a flying saucer zooming toward a CGI-modeled Statue of Liberty, followed by a picture of the United Palace.
"Autobahn" - How could Kraftwerk not do this song at their live sets? I pretended I was driving a car while this song was playing. With the way the video shows a close view of the back of one of the cars, I looked like a tailgater when pretending to drive. But, I try not to tailgate when actually driving.
"Tour De France"/"Tour De France 2003" - Kind of like me pretending to drive when "Autobahn" was playing, I pretended to be a cyclist when this was playing. I have to admit that the 2003 version of "Tour De France" sounds really cool live. It's much more fun hearing it live than the studio version.
"Airwaves" - Another surprise song I didn't expect they'd do. Even more surprising is the next two songs they played...
"Intermission"/"News" - A big ring appears on the screen when "Intermission" plays. Words in German come flying out of said ring when "News" plays. And now, we move on to "Geiger Counter"...
"Geiger Counter"/"Radioactivity" - Instead of the "Sellafield 2" intro, we get "Geiger Counter" being the intro to "Radioactivity". Lyrics were sung in both English and Japanese. I got more chills than expected, especially since I'm already well familiar with the song.
That's it for notes on some of the songs. Here's the full setlist:
01. "The Robots"
03. "Numbers"/"Computer World"/back to "Numbers"
04. "It's More Fun To Compute"/"Home Computer"
05. "Computer Love"
06. "The Man Machine"
08. "The Model"
09. "Neon Lights"
11. "Tour De France"/"Tour De France 2003"
14. "Geiger Counter"/"Radioactivity"
15. "Trans Europe Express"/"Metal On Metal"
16. "Boing Boom Tschak"
17. "Techno Pop"
18. "Music Non-Stop"
20. "Planet of Visions"
The only two problems during that night were the sound system (There were times I could barely hear them singing in "Metropolis", and times where some sound effects were longer than they should be. I think the sound system staff should've looked checked these speakers better), and that they didn't do "Pocket Calculator" (Damn....) But I had the most fun I could have in ages! I remember saying "They booked Kraftwerk to play at a church because God, of course, loves Kraftwerk!" (The United Palace is both a concert theater and a church, just so you know.) It was worth the trouble of trying to get a ticket and being a 4-hour bus ride from home to see them! I was exhausted coming home, short on money, and my left hip and back were hurting from the adventure I had, and I am still very satisfied to see the four geniuses of Dusseldorf! This was a major bucket-list accomplishment! Now, when I die, I'll die with more satisfaction in my heart!
(P.S. I have pictures from the concert if you'd like to see them!)
Posted by Starbug on 13 August 2012 - 10:11 PM
Posted by Keep Werking on 01 June 2013 - 06:28 PM
Replaced old youtube video with this on Vimeo
Posted by piąty on 07 April 2013 - 04:28 PM
Hi. Ralf gave an interview to the one of most important, Polish weekly newspaper 'Polityka'.
Here you can find Polish version - http://www.polityka....politykapl.read
Below I paste my translation in English. I hope you will enjoy it.
168-hours work week
It has taken a long time for technology to catch Kraftwerk - says Ralf Hütter,
leader of the legendary group which comes in June for Malta Festival in Poznañ.
Mariusz Herma: Chamber gigs in Tate Modern or MoMA and in the meantime shows for teenagers on huge stadiums. Kraftwerk has got two separate careers?
Ralf Hütter: If you know our history you should know that it just came full circle. In the late sixties we were strongly associated with
artists, because in Germany there was no real musical scene at that time - at least in British or American shape. We and all of our friends had an artistic pedigree. Painters, photographs etc. Those people had visual approach to the music. I was studying architecture. When in 1970 we founded Kling Klang Studio it was obvious for us that we will create there covers and other graphics too. Very often we played our concerts in museums or galleries, students` and jazzclubs. We were a small, German ensemble not particularly associated with the world of music. Only after success of Autobahn we stepped into the world of rock - Anglo-Saxon at once!
MH: So rather an artistic group than music band?
Ralf Hütter: 'Multimedial" is the best word I think. It mates with electronic media, which are our domain. Creating sounds only would be boring for us. As listeners, we need variety too. It has been always like this. Looking from this perspective on our shows in Tate or MoMA, they turn out completely natural. Refreshing of Kraftwerk`s music in this context of modern art means placing it in it`s natural environment. Of course we are still an integral part of dance music or rock scene.
MH: And pop?
Ralf Hütter: When we come to Detroit, our friends connected with techno scene greet us. In New York - rappers. And so on. As you can see, it is impossible to close Kraftwerk in standard categories. We don`t like them, by the way. Because of this fact we use many different languages. For the shows in Poland we have translated words 'Pocket Calculator'. 'Jestem operator i mam minikalkulator. Ja dodajê, odejmujê, kontrolujê i komponujê. Ma³y klawisz naciskamy i melodiê wygrywamy'. (laugh) Of course I don`t speak Polish. I use phonetic alphabet. Song 'Radioactivity' we sing now also in Japanese with mention of Fukushima. In each country we cooperate with local artists and translators, because music is a language and language is a music.
MH: Do you remember your first visit in Poland?
Ralf Hütter: In 1981 we played some gigs, inter alia in Katowice and Warsaw. We also played and open air-show in Gdañsk ('Forest Opera' in Sopot). I think those concerts were organized in cooperation with people from 'Solidarnoæ'. At least we felt an energy and enthusiasm of this movement all the time. Very valuable experience. We were surprised by huge amount of spectators from East Germany. We couldn`t play there. Our music was a part of underground there, so people were following us to Hungary or Poland. For the first time we played on the eastern side of the Berlin Wall after it`s fall. Any concrete wall can`t stop soundwaves. People knew all of our songs by heart.
MH: Passage of time didn`t harm Kraftwerk music. Invitations for youth events show it very well.
Ralf Hütter: Kraftwerk reminds a spacelab landing here and there with all this electronic equipment and can find itselfin every situation. Electronic music is a kind of global language, understood in different countries and cultures. Actually we recently played in Miami on
Ultra Music Festival and we go to Netherlands soon for Roskilde Festival. We will check out our 3D projections in open space, but before it we play an Asian tournee and not so long time ago we have played in South Africa.
MH: And how would you compare these experiences from the scene perspective?
Ralf Hütter: During the concert we are very concentrated on sounds, controlling of visuals and all parameters. Actual adaptation occurs much earlier: when we spread this our spacelab and customize to the new space. As you know, we use surround sound, which doesn`t function on big festivals at all, but we always try to match the music to the local environment to make it an integral part of the venue. The surround sound is the next step in this direction and at the same time implementation of our ambitions from 70`s. We were travelling with tons of analog devices and kilometers of wires, but finally nothing has worked as it should.
MH: According to this fact Kraftwerk stopped playing concerts for such a long time. Are you satisfied by modern tools?
Ralf Hütter: Definitely yes. In 21th century we use the tools that we dreamed of during last three decades of 20th century. In fact we have been performing our music perfectly for about ten years, since Minimum-Maximum era. It took a long time for technology to catch Kraftwerk.
MH: Can you count your time sacrificed for a music?
Ralf Hütter: The first band - Organisation - we formed with Florian Schneider back in 1966. Kling Klang Studio and same Kraftwerk arose in 1970. I was 24, so I was quite mature.
Ralf Hütter: People launch their careers in age of 15 or 16. We were at the finish of high school. Releasing Autobahn, we were almost 30. In respect of the age we were more like directors, painters, but we didn`t want a typical career at all, rather a living with art. I have even
created a term '168-hours work week' according to the 45 or 50-hours work week in German industry. Workers have shared their life for work and relax. For us the art was to be the whole life. We were inspired by all it`s aspects: sport, literature, noise, classical music.
MH: And how does look such a life? Staying with Kraftwerk for such a long time was a good decision?
Ralf Hütter: Oh yes! When I was studying architecture I wasn`t motivated. I was thinking about sounds, images, books. Kraftwerk let me realize all of these passions: by composing, creating graphics or writing lyrics. My biggest dream came true and comes all the time.
MH: Many of visions from Kraftwerk songs came true too. In 70`s they seemed to be a pure futurism.
Ralf Hütter: In that time they were described as a 'nonsense'. We were attacked for our naivety. Now this energy comes back to us. Technological companies offer us their programmes, sound systems or 3D projection systems. We are lucky guys. Vision of the man-machine comes true during our shows. For two hours man and machine become one.
MH: Cycling is also one of threads in your music. It is your private passion by the way. Your songs about cycling are now covered by recent doping scandal.
Ralf Hütter: Where dominates competition, there is also a monkey business and people are forced to do the things they wouldn`t normally
do. People make experiments with medicine in every sport disciplines. Kraftwerk`s approach to the cycling is completely different. It reminds our relation with music: it`s all about movement, man-machine duo; about freedom given by cycling through different landscapes - mountains, valleys, sounds also. That`s why I am delighted with the view of popularity of bikes in Germany, Netherlands or Belgium. Thousands of people are cycling as they like, far from the records, doping andcompetition. They are looking for their own rhythm, balance, health.
MH: Your cycling soundtrack "Tour de France Soundtracks" was released 10 years ago. Still it is the last
Ralf Hütter: Really a decade ago? Oh yes, it was 100th anniversary of Tour de France. It took us a long time to modernize Kraftwerk to the current technological status. We reshaped the group into the mobile unit. Kling Klang Studio has been also modernized two times. It
became a modern computer system with no old-fashioned,analog machinery. We still work on the new music, but we have so much ideas and so much impulses from the outside...
MH: Your friend, David Bowie just came back with new songs after such a pause.
Ralf Hütter: Yes, I have heard some of them on the radio. It`s wonderful news. David Bowie is unbelievably dynamic personality. We need such a people.
MH: We can say the same about Kraftwerk.
Ralf Hütter: And we are still here. We have great band, technicians, we visit different places of the world and prepare completely new material. The 21th century begins for us right now.
Posted by Automorph on 13 February 2013 - 08:59 AM
Posted by staggboy on 25 December 2012 - 11:42 AM
Posted by lamusica on 24 November 2013 - 09:43 PM
Screen Plane finished the shooting of the Kraftwerk 2013 concerts with the shows in Eindhoven in October.
Kraftwerk choosed the Evoluon as the location for these concerts.
The Evoluon is a conference centre and former science museum erected by the electronics and electrical company Philips in Eindhoven, the Netherlands, in 1966. Since its construction, it has become a landmark and a symbol for the city. The building designed by architect Louis Christiaan Kalff is unique due to its very futuristic design, resembling a landed flying saucer.
After filming the background 3D footage in 2011, Screen Plane shot a series of concerts in the Duesseldorf K20 Kunstsammlung and five concerts in London’s Tate Modern in the amazing Turbine Hall in the beginning of 2013.
The project was challenging because the concerts include a 3D projection thru the entire show, which had to be maintained during filming. It’s the first project we know of, filming 3D in 3D.
I was the stereographer on the Eindhoven Shows, we shot on Alexa cameras with Angenieux zoom 16-42 mm on the Production Rig.
dop: Sebastian Cramer
stereographer: Holger Seidel
Posted by MenschMaschine on 29 May 2013 - 08:29 PM
Posted by ks5572 on 10 February 2013 - 10:05 PM
Posted by Automorph on 08 February 2013 - 02:42 PM
Posted by suchosch on 22 January 2013 - 11:01 PM
Posted by bcass on 11 November 2012 - 10:05 AM
If I don't get a complete set of recordings this year everyone will get an automatic ban.
well, for you guys who got tickets for Radioactivity night, get ready to catch AIRWAVES and ANTENNA, PLEASE! I beg you.
Posted by rasputin on 08 January 2015 - 12:03 PM
Posted by rasputin on 13 January 2013 - 03:10 AM
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