Kraftwerk "Autobahn" (1974)

 
Arriving at the origins of Kraftwerk's "classic era", Autobahn is the record often sighted as the first to articulate electronic music into a popular format. Moving away from Krautrock to fully embrace synthesizers and electronic percussion, the group channel humble inspirations from Germany's limitless motorway, birthing this legendary twenty two minute novelty. Does it stand the test of time? Absolutely. There is an adorable charm within, as square and sawtooth waves pan the stereo spectrum, snowballing with resonance, only to vanish like a passing car. Primitive sound design yet utterly effective and visionary for the time. This spectacle gives way to a lengthy melodic stretch where flutes, synth bass and glossy plucks croon in a wholesome goodness. Cycling again between its main theme, another sound design motor engine escapade plays out. With childlike wonder, as if kids playing with toy cars and making imitative sounds, now adults creating joyous soundscapes from travels on their musical toys.

The second half of Autobahn was fresh to my ears. A interesting collection of instrumentals, alternating between droning soundscapes of curiosity and tuneful electronic pop. Its last two tracks perk the ears with a collection of synthesized sounds imitating nature, from birds tweeting, to gushing flows of water river and the siren calls of distressed mammals, the band show of a mastery that is still impressive today. It seems the record was intentionally split. Side houses its opening epic, a fully formed work. Side B an offering of unresolving ideas. Depending on ones mood, either is a delight but its title track is champion, a remarkable piece of music for all time.

Rating: 7/10

Kraftwerk "Radio-Activity" (1975)

 
For me, Its a curious time to revisit this part of Kraftwerk's discography that initially didn't appeal. Having learned more about hardware and sound design, I now have the ears to better identity their waveform techniques and synthesis in action. It doesn't alleviate a stiffness in this early Electronic music that well and truly comes loose on Trans-Europe Express. Here we get glimmers of melodic magic that overcomes the records conceptual nature. Songs like Radioactivity, Airwaves and Ohm Sweet Ohm bring on rhythm to deliver expressive leads and bright chord arrangements with classic Kraftwerk charm. It does however feel like a smaller portion of what's on offer.

The rest of the record dabbles in sadly dated experimentation. Vocoders and synthetic oddities litter shorter tracks, serving a thematic vision. Radioactivity and the Nuclear age are spun into electronic soundscapes and atmospheres with success, one better received at the time I would imagine. Still, with context, Radio-Activity carries a charm and novelty that feels stuck in the past. Its mostly the vocoded sections that rest as a focal point, no longer as intriguing fifty years later. Despite this blemish, its been riveting to unearth and immerse oneself in that era, hearing pioneers explore fresh terrain. Most delightful of all, the spectacular sounds pushing hardware boundaries.

Rating: 6/10

My Top 10 Music Discoverys In 2015

 

Every year is a great year for music, because even if there isn't a lot interesting going on (not the case) there is an enormous ocean of the past gone by to wade through. As always I love to find new artists to listen to alongside the new records coming out from the ones I know. As well as countless good records Ive seen Meshuggah, Korn, Slipknot, Shikari, Devin Townsend, Nas playing Illmatic AGAIN! Download festival was a blast and in the summer caught Cypress Hill, Snoop Dogg, Napalm Death, Death and Opeth! Later in the year Killing Joke, Manson, Deep Purple and Public Enemy! Its been one heck of a year! for my top 10 records released this year click here.

(10) IGORRR

Truly an artist of the internet era, with instant access to a vast depth of music, IGORRR's music draws from many obscure niches of Death Metal, Glitch and Baroque to collide in a frenetic maelstrom of noise assault. Perfect for my taste in aggressive oddities.

(9) Birocratic

Biro initially came across as a Nujabes clone but has managed to define his own style and sound across the course of a few records. Being a fan of Nujabes I obviously liked this from the get go, but it was great to hear Biro develop into its own brand of instrumental Jazz Hop.

(8) B.G.

My exploration of Southern Hip Hop hasn't led me to too many gems, but there's something to B.G's flow and laid back persona that really works, and when paired up with the right beats he makes a reputable impression.

(7) King Crimson

Their debut is a celebrated classic and having finally gotten around to giving it a listen I understand what the fuss is about and can't help but feel there is more on offer in their discography I wish to dive into soon.

(6) The Beach Boys

All I knew of this band were the Surf Rock numbers like "Surfin USA" which I had little interest in. Had no idea there was another side to the band, or more so Brian Wilson who composed the entirety of this record which I have fallen in love with.

(5) Master P

Master P was a name I knew of in the rap world, but this year I learned the story of his entrepreneurship with No Limit records and of the short lived success his label went through between 97 and 99. I wouldn't say he is one of the greats, but his style, the UGH and the crew he brought together he has definitely been responsible for a lot of enjoyable music that has satisfied my craving for more Hip Hop.

(4) Dead Kennedys

I've known about the legendary Punk group Dead Kennedys for years, but finally cracked the case this year with Frankenchrist which really struck a nerve with me. Although its significantly different from there other records its opened the door for me and I hope I'll get into their other records soon.

(3) Killing Joke

What a tough choice the top three has been, at third its Killing Joke, a band who I've heard of many times as an important influence on bands like Ministry, Korn and Godflesh I finally understand their importance and have grown ever so fond of their first two records, however the rest of their discography is proving to be rather patchy. I like their style, their identity which is very niche, a mix of Post-Punk and Industrial Rock with a charismatic voice.

(2) Kraftwerk

Its not strictly the year that Ive I learned about Kraftwerk's legacy and contribution to electronic music but it has been the year Ive really gotten to grips with their music and whats so fantastic and amazing about it. They had the vision to write emotional and imaginative songs at a time when electronic music was still seen as a novelty. The set the foundation for an explosion of synth pop in the 80s and subsequently everything else that followed. What's best of all is their music is fully realized and stands the test of time.

(1) Outkast

I have a soft spot for Hip Hop, so its no wonder to see Outkast here. Growing up I remember hearing B.O.B and Miss Jackson on MTV and this year decided to listen to their discography sequentially. Ive followed the journey of these two talented and articulate individuals who have crafted some of the finest Hip Hop records id never heard... or was waiting to hear? This is why I seek out new music, Outkast are one of Hip Hops greatest acts with a unique and defined sound that fit right into the vibe of the 90s. It was capable of pushing boundaries and I'm shocked its taken me so long to get around to that southern playalistic duo from my youth.

Kraftwerk "Computer World" (1981)

My fascination with Kraftwerk was reignited after catching a BBC documentary about the group. It covered the bands history and impact on electronic and pop music in extensive detail. Of course I had to seek out a new record to listen to after enjoying "The Man-Machine" and "Trans-Europe Express". "Computer World" or "Computerwelt" as its German recording is called, is the groups eighth album, one that could be considered their last as the pioneers of electronic music given the lukewarm reception of future releases.

The title of the album alone captures the essence of theme and concept this album puts across so boldly, in a typically quirky and eccentric Kraftwerk manor. With the songs "Computer Love" and "Home Computer" predicting a future where computers become an integrated part of our lives, both personal and societal. Kraftwerk, in retrospect, saw a coming change in society and packaged it into an artistic observation and expression. Through their minimalist lyrics, they express a world of connectivity to digital media that leaves us isolated from one another. Its poetic, and true, depending on your interpretation or perspective. The quirky, digital electro sound and theme may not reflect the feel of a future now present, but how their vision sounds "retro" is charming and full of a timeless character.

The aesthetic itself is much softer and rounded than previous records, the buzz saws and sine wave synthesizers are significantly easier on the ears from where technology has improved. The warmer, richer instruments fill more space and disguise the minimalism at work with their lush and gentle tones that play out glorious melodies, one of which from "Computer Love" is their most wondrous, a timeless melody so graceful and innocent, you'll simply never forget it. A chromatically soft pallet doesn't hold the group back from finding a darker tone. "Home Computer" splices in with a dizzying melody picturesque of the deep sea and "Numbers" creates a lifeless computed atmosphere with its vocoded words and shuffling percussion as the computerized vocals count up and down. Its a fantastically progressive and forward thinking album that sees the group execute a visionary theme while further expanding the possibilities for electronic music.

Favorite Songs: Pocket Calculator, Computer World 2, Computer Love

Rating: 8/10

Kraftwerk "Trans-Europe Express" (1977)

Having enjoyed the works of prolific electronic group Kraftwerk through their album "The Man-Machine", I sought out another record to digest. Recommendations by readers and critically acclaimed across the web, it seemed "Trans-Europe Express" would be one id have to listen to sooner or later. Recorded in 1976, and released a year later, this record marked a significant shift in sound towards a purer electronic output that would mark this and the proceeding records as classics in the modernization of electronic music. Having developed an understanding of what this group are about, I found this album to immediately reveal its brilliance, a vast difference in approach and likability. I was instantly sucked into a carefully orchestrated design of minimalism and color through the opening track "Europe Endless" with its vibrant melodies, formal groove and charming vocoded vocals. Complimented by light choirs and cultural praising of European collaberation, Kraftwerk quickly set a gorgeous tone of which the repetitious content simply does not tire, and becomes indulging and fruitful. As 10 minutes pass the album moves into tis second gear, and reveals a different focus for the theme of the record.

With "Hall Of Mirrors", the warm vibe established is diminished as the record transitions into a dark and egotistical reflection of self image. A distant, tampering beat, moogy bass and swirling melodies create an intense atmosphere for the vocals to tell a shattering tale of fame and self image, the harrowing space of a failed ego. The theme is continued through an equally moody yet sharper and punchier track "Showroom Dummies" that includes some interesting sampling of destructive noises. The song is another impressive showcase of minimalism, yet fills rather "full" from its energetic rhythm. From here the record moves into what was simply a "jaw dropping" moment for me. A shuffling, mechanical rhythm slowly phased to sound reminiscent of a train leads up to a glorious moment in Hip Hop. Sampling has always excited me, and I was so humbled to hear the origins of "Planet Rock", a classic and important song in the Origins of Hip Hop. The eerie melody is followed up by a stunning arrangement of chords that I find myself in awe of, the song is further progressed into "Metal On Metal" which drops the melodies and brings in some big and booming drum hits to descend the song into a meaner tangent of itself guided by some theatrical chord climaxes that lead back into the main theme. Its followed up by two more tracks that shift the feel back to the initial positives this one started out with, yet holds a strong reminiscent or revisited feel about it, mostly likely through a lack of percussion and dreamy synths.

The listening experience as a whole is vastly superior to much modern music out there, and begs me to ponder on the "retro" or "outdated" ideas that can often be associated with music and art. Aesthetically, or musically, this seems far removed from irrelevance of time, and stands on its own two feet. Kraftwerks mastering of minimalism, mechanical rhythms, peachy melodies and eccentric presentations mold the form of a record pure of substance. Even after much time listening to this one, I find myself unable to put it down. Despite haven given my thoughts on this record, I can't help but feel it will only love it more as time goes by.

Rating: 10/10

Kraftwerk "The Man-Machine" (1978)

The world of Electronic music is one I'm fond of, but not well educated on its history and evolution. From my understanding it is Kraftwerk who are often hailed as the godfathers of all modern Electronic music. I've frequently heard about them in the highest of regards from enthusiasts who point to them as pioneers in the field who's influence is enormous and lasting. After enjoying the song "Robots" and its quirky music video on Youtube I have failed to listen to this record for too long.

It was impossible to listen to this record with out thinking about its context, era and what it would have meant for the music of the future, but this didn't effect my enjoyment of this record, what I found were 6 repetitive and minimalist songs that had a gentle, yet unusual soul about them. Kraftwerk's sound is powerful considering the lack of depth on hand. Songs mostly consisted of three to five layers of synthesizers, an electronic kit and vocoded vocals. The beauty of there music was in the expression, through limited options the four created catchy and memorable tunes with an unusual air about them, probably reflecting the new frontier they were sailing with Electronic music. It was this ingenuity to bring melodic sensibility and catchy notation to the electronic sound that I suspect is what has earned them their reputation. Previously I had heard synthesizers being used as evolving tangents of progressing sound on such a record as "Dark Side Of The Moon" or some Tangerine Dream of the same era.

As a whole the record sounds pristine, so much care was put into the mix and the texture of these synthesizers, at a time when production was not as advanced. With a fantastic sound the group craft absorbing songs that, despite the minimalism, feel rich with atmosphere and character. As the album progress the vocal content develops a little, but always sticking to a simplicity that expresses a non-human characteristic as vocoded vocals repeat words in an alien use of language. As the album sucked me in I felt the repetitive synth leads becoming more memorizing and absorbing, with a fantastic moment on "Neon Lights" as sweeping, glistening synths captivate and dance there way through half the duration of this track. Impressive album, even more so considering the era of time. That being said nothing here feels dated, Kraftwerk didn't just experiment or push boundaries, they created honest music as they did it.

Favorite Tracks: Metropolis, Neon Lights, The Man Machine

Rating: 9/10