Tags: Hesi Critical Thinking Practice QuestionsRubric For Argumentative Essay High SchoolDescribe Your Plans EssayAnorexia Essays CollegeEssay History In Medicine Science Society Sport Sport SportsChange Industrialization EssayHow To Prepare For Sat EssayThe Book Report LyricsEssay Country Vs CityStrong Thesis Statement For Research Paper
In a merger of the Schools of Düsseldorf and Berlin, Kranemann and Grosskopf transmit their cosmic sonic visions of today, tomorrow and beyond in an updated take on art school kosmische with a lively and rhythmic self-titled debut album.Following an enthusiastic talk at the 2017 ELECTRI_CITY_CONFERENCE in Düsseldorf, Eberhard Kranemann kindly chatted to The Electricity Club about the genesis of KRAUTWERK and his observations on the vibrant post-war German music scene that ultimately impacted the world’s musical landscape. There is no concept, we are just two guys who are making music for fun. I heard Harald for the first time at a festival in Sulingen where he was doing a solo performance and I had a performance in another room.
His remix of the heavily psychedelic and meandering “Mantis” eschews just about everything from the original save for its guitar plucks, moody vibe, and length.
Instead of live percussion and wafting synth tones, the remix focuses on a thick, hypnotic bassline, an incessant drum-machine beat, and a few samples from Psychic Ills’ number warped into unrecognizable sound effects.
Eberhard Kranemann is a one-time member of KRAFTWERK who later recorded an album ‘Fritz Müller Rock’ with the legendary Conny Plank.
A graduate of the Dortmund Conservatory, the multi-instrumentalist also worked with NEU!
No, I wasn’t interested in the Berlin School of Music, for me it was boring, it was just synthesizers going on and on and it was not enough. A band who spends 30 years not making any new music and only the old sh*t comes out every year in new clothing, this is not for me.
I must make new music going into the future and when I began this project with Harald, I had the idea of starting at a point 30 years ago when KRAFTWERK stopped making music because when they now play concerts, they don’t make music…
they had so much power, I had never heard this before. I’m a more experimental musician using wired sounds and he didn’t like it! So when I telephoned him to suggest working together, he did not want to…
but 4 weeks later, he said He came into my studio, but I did not tell him before that I’d prepared it to record our whole session professionally. We had never played together before but this 40 minutes was so great, it was wonderful music.
they stand there like roboters and the music comes programmed from the computer, I do not like this.
When I played in KRAFTWERK in 1971 and the years before, we used techniques between man and machine but there was a lot of freestyle, everyone could play.