0:00:02 > 0:00:05- This programme contains some strong language.- Germany, 1945. Year zero.
0:00:05 > 0:00:08Everything from cities to culture lies in ruins.
0:00:10 > 0:00:12It was time to rebuild.
0:00:16 > 0:00:18This is the story of a generation of musicians
0:00:18 > 0:00:20born into post-war rubble
0:00:20 > 0:00:24who would forge a new musical identity for Germany.
0:00:27 > 0:00:31Between 1968 and 1977,
0:00:31 > 0:00:35bands like Neu!, Can, Faust and Kraftwerk
0:00:35 > 0:00:39would look beyond western rock and roll to create some of the most original
0:00:39 > 0:00:42and uncompromising music ever heard.
0:00:43 > 0:00:46They shared one common goal -
0:00:46 > 0:00:50a forward-looking desire to transcend Germany's past.
0:00:52 > 0:00:56But that didn't stop the music press in war-obsessed Britain
0:00:56 > 0:00:58from labelling them Krautrock.
0:01:00 > 0:01:03Meine Damen und Herren, ladies and gentlemen,
0:01:03 > 0:01:07willkommen to the sound of Krautrock.
0:01:07 > 0:01:14This programme contains some strong language.
0:01:18 > 0:01:22In the last '60s, this was what German pop music looked like.
0:01:24 > 0:01:26# Dondelo
0:01:26 > 0:01:30# Wir sind verliebt, wir sind froh, sag mir,
0:01:30 > 0:01:34# was kann denn schoener sein, Dondelo
0:01:34 > 0:01:37# Wir tauschen nichts dafur ein... #
0:01:40 > 0:01:41It was known as Schlager.
0:01:41 > 0:01:44Inoffensive, lightweight pop.
0:01:44 > 0:01:47A world away from what was happening on the streets of West Germany.
0:01:47 > 0:01:51SONG: "All Along The Watchtower"
0:01:57 > 0:01:591968.
0:01:59 > 0:02:02The year of a global youthful revolution.
0:02:02 > 0:02:04And West Berlin was no exception.
0:02:06 > 0:02:09# There must be some kind of way outta here
0:02:10 > 0:02:13# Said the joker to the thief... #
0:02:13 > 0:02:17Like their brothers in the US and the UK,
0:02:17 > 0:02:19these kids were sick of "The Man",
0:02:19 > 0:02:22but in Germany, the establishment had more to answer for.
0:02:22 > 0:02:27# Businessmen, they drink my wine... #
0:02:27 > 0:02:30Following the German surrender in 1945,
0:02:30 > 0:02:34the country had been divvied up by the victors.
0:02:35 > 0:02:38In West Germany, the programme of foreign aid
0:02:38 > 0:02:40had kickstarted the Wirtschaftswunder,
0:02:40 > 0:02:43an economic miracle that saw the country prosper
0:02:43 > 0:02:45in the '50s and '60s.
0:02:47 > 0:02:51But the people running this shiny new Germany
0:02:51 > 0:02:55were the very same people who had been in power during the war.
0:03:01 > 0:03:05Nowhere was this more so than in Bavaria,
0:03:05 > 0:03:07the Alpine heart of southern Germany,
0:03:07 > 0:03:11an area with strong historical ties to National Socialism.
0:03:17 > 0:03:20Hitler had chosen to start his revolution in Munich
0:03:20 > 0:03:23and when not waging Blitzkrieg,
0:03:23 > 0:03:27the Fuhrer could be found relaxing high up in the Bavarian mountains.
0:03:30 > 0:03:31For Amon Duul,
0:03:31 > 0:03:35a group of commune-dwelling musicians from Munich,
0:03:35 > 0:03:38the past seemed all too present in 1968.
0:03:40 > 0:03:44After the war, you couldn't just, erm...
0:03:44 > 0:03:48erase all people or get rid of all people,
0:03:48 > 0:03:50especially judges, teaches,
0:03:50 > 0:03:53if they were Nazis, they had to take them,
0:03:53 > 0:03:57because you can't just kick 'em out and have no teachers at all.
0:03:59 > 0:04:01It was all still there,
0:04:01 > 0:04:03but it wasn't as loud any more.
0:04:03 > 0:04:07Nobody dared to say Hitler or something like that.
0:04:07 > 0:04:09The word "Jew" was...
0:04:09 > 0:04:11it wasn't there in German language.
0:04:13 > 0:04:15Our parents didn't really talk about Hitler, you see,
0:04:15 > 0:04:19and about the Jews and what this was all about.
0:04:19 > 0:04:21They were just in true silence.
0:04:21 > 0:04:23Nobody would really talk about it.
0:04:23 > 0:04:25If I asked my father,
0:04:25 > 0:04:28he would never say, "I was a Nazi."
0:04:29 > 0:04:33If you go to Dachau, which is 30km away from here,
0:04:33 > 0:04:34talk to the people there.
0:04:34 > 0:04:36"We didn't know anything about it."
0:04:42 > 0:04:45In those days, there were bloody Nazis around, all over the place.
0:04:45 > 0:04:47There was rebellion against them.
0:04:47 > 0:04:51We had these big revolutionary things in the '60s.
0:04:51 > 0:04:54All Munich was on the street fighting against police,
0:04:54 > 0:04:57against politics, against all of that.
0:05:04 > 0:05:07We didn't have guns or the tools to chase them away,
0:05:07 > 0:05:09but we could make music
0:05:09 > 0:05:13and we could draw audience, we could draw people
0:05:13 > 0:05:15with the same understanding, the same desires.
0:05:21 > 0:05:25Amon Duul would seek to make acid-drenched apocolyptic music
0:05:25 > 0:05:28that soundtracked their vision of a brave new world.
0:05:36 > 0:05:40Of course we didn't want to make English music or American music,
0:05:40 > 0:05:43and we didn't want to make German Schlager music
0:05:43 > 0:05:45so we had to come up with something new.
0:05:46 > 0:05:50The only thing we could hold on is classical music or the folk.
0:05:50 > 0:05:54Everything else was from...
0:05:54 > 0:05:57England or America.
0:05:57 > 0:06:00We wanted to be international.
0:06:00 > 0:06:03We tried very hard not to be Anglophonic
0:06:03 > 0:06:05and not to be German.
0:06:05 > 0:06:08So, space is one solution.
0:06:12 > 0:06:14THEY VOCALISE TO ACCOMPANYING MUSIC
0:06:23 > 0:06:25When you hear Phallus Dei
0:06:25 > 0:06:28I wasn't really singing, I was into...
0:06:28 > 0:06:30a voice-like an instrument, you see.
0:06:30 > 0:06:32Or doing crazy stuff.
0:06:35 > 0:06:38Some people get very angry about it.
0:06:40 > 0:06:44Like my dad did too. He said, "Well, it's not music!"
0:06:44 > 0:06:46THEY HUM AND WAIL
0:06:55 > 0:07:00Amon Duul's commune was the locum of radical left-wing politics and music in Munich.
0:07:00 > 0:07:03Among those who followed Amon Duul were the founders
0:07:03 > 0:07:05of the Baader-Meinhof gang,
0:07:05 > 0:07:08Andreas Baader, Gudrun Ensslin
0:07:08 > 0:07:10and Ulrike Meinhof.
0:07:11 > 0:07:15They thought Amon Duul weren't going far enough.
0:07:21 > 0:07:24One day, Andreas and Ulrike started...
0:07:24 > 0:07:28they're not really listening to us and they're not doing the right thing.
0:07:28 > 0:07:31We actually have to make something drastic,
0:07:31 > 0:07:33like...burn something down
0:07:33 > 0:07:35or blast something.
0:07:39 > 0:07:41They burnt down this warehouse
0:07:41 > 0:07:43and got busted of course
0:07:43 > 0:07:45and went to jail.
0:07:45 > 0:07:48When they got out of jail and they were released,
0:07:48 > 0:07:51they thought, "Let's go to our mates, Amon Duul."
0:07:51 > 0:07:54Once out of prison, Baader and Meinhof
0:07:54 > 0:07:55would orchestrate a killing spree
0:07:55 > 0:07:59that made them Germany's most wanted terrorists.
0:08:01 > 0:08:05We were on tour and came back home to Herrsching...
0:08:05 > 0:08:08I went into my room.
0:08:08 > 0:08:11And there was Ensslin and Baader.
0:08:11 > 0:08:16And upstairs was Meinhof in Chris's room.
0:08:16 > 0:08:20And I said, "What the fuck are you doing here?
0:08:20 > 0:08:23"You go out immediately. Immediately."
0:08:27 > 0:08:30It was heavy. I didn't like it at all.
0:08:31 > 0:08:34It wasn't just the worlds of radical politics and music
0:08:34 > 0:08:36that collided in the late '60s.
0:08:38 > 0:08:41One of the cameramen capturing this experimental Amon Duul
0:08:41 > 0:08:44performance was a certain Wim Wenders.
0:08:44 > 0:08:48Wenders was part of radical generation of directors
0:08:48 > 0:08:50reinventing German cinema.
0:08:52 > 0:08:55The most political of these directors
0:08:55 > 0:08:57was Rainer Werner Fassbinder
0:08:57 > 0:09:00seen here making a cameo in Die Niklashauser Fahrt,
0:09:00 > 0:09:03a film that also featured Amon Duul.
0:09:05 > 0:09:09But the most famous young director to emerge was from Munich.
0:09:12 > 0:09:16Werner Herzog would make films exploring the extremes
0:09:16 > 0:09:18of the human condition.
0:09:18 > 0:09:22The soundtracks to his films were written by Popol Vuh,
0:09:22 > 0:09:25a Munich-based band with close ties to Amon Duul.
0:09:25 > 0:09:31They were led by the late talismanic Florian Fricke.
0:09:40 > 0:09:42Let me see. Was heisst denn Menschenswuerde?
0:09:42 > 0:09:45Das ist es. Dignity!
0:09:49 > 0:09:51In those days, he also had the first work
0:09:51 > 0:09:54for Aguirre with Klaus Kinski and Werner Herzog.
0:09:59 > 0:10:02The reason why they could get together so good,
0:10:02 > 0:10:04Werner and Florian,
0:10:04 > 0:10:05they had been friends.
0:10:05 > 0:10:09They know each other from the schooldays and, you know.
0:10:18 > 0:10:19Aguirre, Zorn Gottes,
0:10:19 > 0:10:22I give you the fact why it sounds so tremendous.
0:10:22 > 0:10:27And...the choral... that sounds like the voices.
0:10:27 > 0:10:31There is a machine that came from Vienna
0:10:31 > 0:10:34that was just by accident, they found it.
0:10:34 > 0:10:35It was really helpful.
0:10:49 > 0:10:52It has nothing to do with metronome.
0:10:52 > 0:10:55It has nothing to do with playing on the click.
0:10:55 > 0:10:59We just... Our heart, our emotion was the timing, you know.
0:10:59 > 0:11:00Beautiful.
0:11:04 > 0:11:09Of course, the real German music, it was the electronic music.
0:11:14 > 0:11:18At a time when most of the West was rocking out to guitar gods,
0:11:18 > 0:11:21something very different was brewing in Germany.
0:11:21 > 0:11:24Electronic music was virgin.
0:11:24 > 0:11:29Neither tainted by the past nor an Anglo-American import.
0:11:29 > 0:11:32In 1968, it was being nurtured in Berlin,
0:11:32 > 0:11:34a city like no other.
0:11:35 > 0:11:39First of all, you have to remember
0:11:39 > 0:11:42that Berlin was kind of an isolated place.
0:11:42 > 0:11:47So, you couldn't compare Berlin to any other city in the world.
0:11:47 > 0:11:49There was a huge wall around it.
0:11:54 > 0:11:59In the old days of West Berlin, this was the end of the world.
0:11:59 > 0:12:03On the other side was Siberia. Or at least East Germany.
0:12:03 > 0:12:10What looks now like a very quiet and peaceful place
0:12:10 > 0:12:12was the border.
0:12:12 > 0:12:16And...was closely guarded.
0:12:20 > 0:12:25In case you wonder on which side of the old border you are,
0:12:25 > 0:12:29these hostel ships are named Eastern Comfort
0:12:29 > 0:12:32and Western Comfort.
0:12:35 > 0:12:39It was a community which had to control more or less
0:12:39 > 0:12:41themself.
0:12:41 > 0:12:44So, culture and underground whatever you want to call it
0:12:44 > 0:12:48was kind of a very, very specific melting pot.
0:12:48 > 0:12:53That was the signature of the city at the end of the '60s.
0:12:54 > 0:12:58The key underground venue in Berlin was the Zodiak Free Arts Lab
0:12:58 > 0:13:00founded in 1967.
0:13:00 > 0:13:02It was a magnet for musicians
0:13:02 > 0:13:05who wanted to experiment.
0:13:09 > 0:13:11Ah, haven't been here in a long time.
0:13:13 > 0:13:14This is what's left.
0:13:14 > 0:13:16A normal cafe.
0:13:17 > 0:13:20This was quite different 40 years ago.
0:13:29 > 0:13:31In the evenings, they opened the door.
0:13:31 > 0:13:34And we rehearsed on certain way
0:13:34 > 0:13:36but it was also a concept,
0:13:36 > 0:13:37because the audience was there.
0:13:37 > 0:13:40This was kind of a...
0:13:40 > 0:13:44kind of a centre...of all music, the Zodiak Club.
0:13:46 > 0:13:50The owner, they said more or less that...
0:13:50 > 0:13:53"Do what you like here, you can leave even your instruments.
0:13:53 > 0:13:57"We lock the door in the night." We were playing there every day.
0:14:06 > 0:14:09The idea came from a John Cage concert
0:14:09 > 0:14:12given in an arts school in Berlin
0:14:12 > 0:14:15where he was running about 35 tape recorders
0:14:15 > 0:14:18and different sounds and music all over the place.
0:14:21 > 0:14:24We thought what a nice idea to have in Berlin
0:14:24 > 0:14:28a place where you can see that day by day, 24 hours.
0:14:30 > 0:14:33It was like the ICA.
0:14:36 > 0:14:40New York, it was The Factory. The same kind of spirit.
0:14:41 > 0:14:42SOUNDTRACK DROWNS SPEECH
0:14:42 > 0:14:47The Zodiak was co-founded by experimental artist Hans-Joachim Roedelius.
0:14:47 > 0:14:50Older than most Krautrockers,
0:14:50 > 0:14:54Roedelius's vision drew from his war experience.
0:14:57 > 0:15:01I think all my art is based on living
0:15:01 > 0:15:03not on doing art.
0:15:03 > 0:15:08On experiencing life in many, many different aspects.
0:15:09 > 0:15:12The young part of the Hitler Youth,
0:15:12 > 0:15:14it was called "Pimpfe".
0:15:14 > 0:15:17And what did you do in that...?
0:15:17 > 0:15:18We had to do this...
0:15:18 > 0:15:21and all these shit.
0:15:21 > 0:15:24And to try to make us
0:15:24 > 0:15:28discipline of following Adolf.
0:15:32 > 0:15:33I had to wear this Panzerfaust.
0:15:35 > 0:15:39But I didn't shoot it, they just did try that to make us soldiers.
0:15:39 > 0:15:42But fortunately the war ended in the right time.
0:15:45 > 0:15:47Roedelius formed Cluster.
0:15:47 > 0:15:50They pioneered ambient electronica.
0:15:53 > 0:15:56We bought simple tone generators.
0:15:58 > 0:16:00And keyboard.
0:16:00 > 0:16:03And I had a...cello as well.
0:16:03 > 0:16:07Just to fiddle around with the sound.
0:16:07 > 0:16:09I was not able to play the cello at all.
0:16:12 > 0:16:15Of course, Joachim is more or less...
0:16:17 > 0:16:21the guy who makes little melodies.
0:16:22 > 0:16:27And I'm the guy who makes more the rhythm and sound things.
0:16:35 > 0:16:42A good example for music made by non-musicians.
0:16:43 > 0:16:46They had a vision of...
0:16:46 > 0:16:49creating some sort of
0:16:49 > 0:16:51sonic utopia,
0:16:51 > 0:16:55a different world with different sounds.
0:16:57 > 0:17:00This is sort of a promise
0:17:00 > 0:17:03that there is a way out of the surroundings, society.
0:17:13 > 0:17:19The...majority of Germans,
0:17:19 > 0:17:22they listened to classic of course
0:17:22 > 0:17:24and Schlager.
0:17:27 > 0:17:32# Dieses Maedchen aus unserer Strasse hab' ich noch immer lieb
0:17:33 > 0:17:38# Und es gibt dann ein Grund dafuer... #
0:17:38 > 0:17:40Der Schlager is stupid texts,
0:17:40 > 0:17:43stupid melody and everybody loves it.
0:17:44 > 0:17:46In way, American hits
0:17:46 > 0:17:48are also Schlager.
0:17:48 > 0:17:51Elvis Presley,
0:17:51 > 0:17:53he was a Schlager singer really.
0:17:54 > 0:17:58On the surface, Schlager isn't political at all.
0:17:59 > 0:18:01But that's what make it political.
0:18:01 > 0:18:04# Dieses Maedchen aus unserer Strasse... #
0:18:04 > 0:18:06During the war,
0:18:06 > 0:18:10the propaganda ministerium, Joseph Goebbels,
0:18:10 > 0:18:14who was a very modern fascist,
0:18:14 > 0:18:16he invested lots of money
0:18:16 > 0:18:20into creating a music industry to his lies.
0:18:20 > 0:18:25# Sie schaut mich immer wieder an... #
0:18:25 > 0:18:28The amount of Schlager broadcast in the radio programme
0:18:28 > 0:18:30increased dramatically.
0:18:33 > 0:18:35Danke schoen. Das war...
0:18:35 > 0:18:38There were not too many ways for a German...
0:18:39 > 0:18:41..let's say, rock musician,
0:18:41 > 0:18:44you know, to perform music,
0:18:44 > 0:18:45to develop music,
0:18:45 > 0:18:51even to think about the theoretical development of music,
0:18:51 > 0:18:54because there was no heritage.
0:19:00 > 0:19:03And the Germans...were in a...
0:19:04 > 0:19:07..in a very bad situation.
0:19:07 > 0:19:08You couldn't forget that.
0:19:08 > 0:19:12I mean, they were so stupid and guilty for it...
0:19:13 > 0:19:16..to start two wars.
0:19:17 > 0:19:19And losing them.
0:19:24 > 0:19:26As horrific as it was,
0:19:26 > 0:19:32it had one, forgive me to say that, one positive point.
0:19:32 > 0:19:35There was nothing else to lose.
0:19:35 > 0:19:37They lost everything.
0:19:41 > 0:19:44And so, when we thought about
0:19:44 > 0:19:46doing music in a different form,
0:19:46 > 0:19:49there was only the free form, the abstract form.
0:19:54 > 0:19:57Tangerine Dream's electronic symphonies
0:19:57 > 0:20:01conjured up a different world far removed from Germany's past.
0:20:01 > 0:20:04They, and other Zodiak acts, like Klaus Schulze,
0:20:04 > 0:20:08were among the first to utilise the newly-invented synthesizer.
0:20:11 > 0:20:13ELECTRONIC MUSIC WARBLES
0:20:25 > 0:20:28When I started to do my electronic music,
0:20:28 > 0:20:32the first question was, "What is a synthesizer?"
0:20:32 > 0:20:35You can imagine today, nobody would even care,
0:20:35 > 0:20:37they'd just see hundreds of them.
0:20:37 > 0:20:39But at this time, "What is a synthesizer?"
0:20:39 > 0:20:41Then you try to explain it, you know.
0:20:47 > 0:20:49It was so brand new.
0:20:49 > 0:20:53Then we thought, "That's great, let's try something with it."
0:20:55 > 0:20:57That was at the point that we actually...
0:20:58 > 0:20:59..like kids.
0:20:59 > 0:21:02We were turning knobs without knowing what comes out,
0:21:02 > 0:21:05but at least it sounds great.
0:21:05 > 0:21:07WARBLING AND BEEPING
0:21:13 > 0:21:16And as far as they are all connected to each other,
0:21:16 > 0:21:19every knob you move, something is happening, you know.
0:21:19 > 0:21:25So... But don't ask me, I hear this noise more than 30 years.
0:21:25 > 0:21:28I could never create tomorrow exactly the same sound.
0:21:30 > 0:21:34Munich and Berlin weren't the only centres of experimentation.
0:21:34 > 0:21:38The real heart of the European electronic tradition
0:21:38 > 0:21:40was to be found in Cologne,
0:21:40 > 0:21:45where leading avant-garde composer Karlheinz Stockhausen was based.
0:21:47 > 0:21:50Cologne was at the beginning of the '60s
0:21:50 > 0:21:54the centre of modern music worldwide, you can say.
0:21:54 > 0:21:57And Stockhausen was one of the composers
0:21:57 > 0:21:58who was here.
0:21:59 > 0:22:03And he gave some lectures, and I said to him,
0:22:03 > 0:22:08"Mr Stockhausen, I can't do anything.
0:22:08 > 0:22:09"All examinations, I've failed."
0:22:09 > 0:22:14And he said, "What do you want to become?"
0:22:14 > 0:22:16I said, "Composer of course."
0:22:17 > 0:22:18And then he looked at me...
0:22:20 > 0:22:23"Your story sounds good, I take you."
0:22:28 > 0:22:30I heard from an undertaker
0:22:30 > 0:22:34that in the basement, he was doing a side business
0:22:34 > 0:22:39with the thrown out studio equipment from the radio station.
0:22:39 > 0:22:43And so I entered his shop.
0:22:44 > 0:22:46The coffins were there.
0:22:47 > 0:22:50"Come with me to my catacombs," he said.
0:22:50 > 0:22:53And I found...
0:22:54 > 0:22:57..generators Stockhausen had used for the first time.
0:22:57 > 0:22:59And these failed us.
0:22:59 > 0:23:04I remember them so well how he was working with it.
0:23:07 > 0:23:10Stockhausen had married a rich woman.
0:23:10 > 0:23:13And I thought, "I do exactly the same."
0:23:13 > 0:23:16And was succeeding, actually.
0:23:16 > 0:23:18I was going to Switzerland
0:23:18 > 0:23:20to become teacher.
0:23:20 > 0:23:22Whatever it was, it does not matter.
0:23:22 > 0:23:25And suddenly, I was, erm...
0:23:25 > 0:23:27I was engaged,
0:23:27 > 0:23:32but instead of taking too much care for the rich girls,
0:23:32 > 0:23:37there was a guitar player, he wanted to have some lessons from me.
0:23:37 > 0:23:40I could see how talented he was.
0:23:41 > 0:23:45So, he finished his school and we together founded Can.
0:23:52 > 0:23:55As I said, better a small bird in the hand
0:23:55 > 0:23:58than a pigeon on the roof.
0:24:03 > 0:24:06Five brilliant individuals, Can combined
0:24:06 > 0:24:09the influences of the European avant-garde, jazz and minimalism.
0:24:18 > 0:24:20Can was founded in '68.
0:24:20 > 0:24:23That was the year of the kind of
0:24:23 > 0:24:25student revolutions in Germany.
0:24:28 > 0:24:31A mental revolution happened at that time.
0:24:31 > 0:24:34The war was definitely finished
0:24:34 > 0:24:37and the old way of thinkings had to be...
0:24:37 > 0:24:38destroyed.
0:24:42 > 0:24:44We did not try to play rock and roll.
0:24:47 > 0:24:51Because we knew it is not the thing we are born with.
0:24:51 > 0:24:54We have to find our own way.
0:24:55 > 0:24:58Key to Can's driving sound
0:24:58 > 0:25:00was the drumming of Jaki Liebezeit
0:25:00 > 0:25:02who had been Germany's top jazz drummer
0:25:02 > 0:25:04until he had an epiphany.
0:25:05 > 0:25:11A guy came to me and said, "You must play monotonous."
0:25:12 > 0:25:16He said it with a voice and with an expression
0:25:16 > 0:25:19so I was quite impressed.
0:25:19 > 0:25:23I don't know if he was a kind of freak.
0:25:23 > 0:25:30Maybe he had taken LSD trip or something. He was completely... strange.
0:25:32 > 0:25:35I started thinking about it...
0:25:36 > 0:25:40to play monotonous - what did he mean, monotonous?
0:25:40 > 0:25:45So I started to repeat things.
0:25:52 > 0:25:56We played live in Munich -
0:25:56 > 0:26:00we had a concert there, which was a sold-out concert.
0:26:00 > 0:26:05And I was sitting, in the afternoon, with Jaki Liebezeit, with the drummer in a cafe.
0:26:07 > 0:26:13And suddenly I saw someone coming up the street, in the middle of the street,
0:26:13 > 0:26:20and they were praying to God and getting down to the street and behaving very strange.
0:26:20 > 0:26:25And I said to Jaki, "Jaki, we have our new singer."
0:26:28 > 0:26:29Damo Suzuki.
0:26:31 > 0:26:34I'm the nomad.
0:26:34 > 0:26:37Nomad in the 21st century.
0:26:37 > 0:26:39Traveller...
0:26:40 > 0:26:42Hippy, but not really hippy.
0:26:43 > 0:26:45Metaphysical transporter.
0:26:47 > 0:26:49Human being.
0:26:51 > 0:26:55I went to Damo and said, "What are you doing tonight?"
0:26:55 > 0:26:58He said, "Oh, nothing, I don't have anything to do."
0:26:58 > 0:27:02"Do you want to become singer in a concert? It's sold out."
0:27:02 > 0:27:07"Yes, and when do we make a rehearsal?"
0:27:07 > 0:27:12"No rehearsal. No, you go on stage and then you sing. Don't worry."
0:27:12 > 0:27:18Damo was first like a Samurai, but a very peaceful one.
0:27:18 > 0:27:26When, suddenly, out of nothing, he broke out in an eruption like a volcano...
0:27:26 > 0:27:27# Hey you... #
0:27:27 > 0:27:30'And the people got so aggressive.'
0:27:30 > 0:27:36# You're losing, you're losing, you're losing, you're losing your vitamin C... #
0:27:38 > 0:27:42'I would say about 30 people were left, and one of them was David Niven.'
0:27:42 > 0:27:43# You're losing... #
0:27:43 > 0:27:50And they asked him, "Mr Niven, what do you think about this music?"
0:27:50 > 0:27:54and he said, "It was great, but I didn't know it was music."
0:28:03 > 0:28:08Actually, I don't have so much memories because at the time I was quite stoned.
0:28:08 > 0:28:11And...that's it.
0:28:16 > 0:28:2230km north of Cologne, on the Autobahn, lies Dusseldorf -
0:28:22 > 0:28:25the Liverpool to Cologne's Manchester
0:28:27 > 0:28:31Dusseldorf would give the world Germany's greatest act.
0:28:31 > 0:28:35But, in 1970, you might not have recognised them.
0:28:46 > 0:28:51This is Kraftwerk's first televised performance.
0:28:51 > 0:28:53It features Florian Schneider and Ralf Hutter -
0:28:53 > 0:28:55two classical music students
0:28:55 > 0:28:58who formed the creative nucleus of the band.
0:29:05 > 0:29:10Kraftwerk, then, were a Krautrock band, who also experimented with electronics,
0:29:10 > 0:29:14and shared the same vision of German music as their peers.
0:29:15 > 0:29:18HE SPEAKS GERMAN:
0:29:35 > 0:29:41Ralph and Florian would employ what they would later call "Musikarbeiter" - music workers.
0:29:44 > 0:29:51At that time, I was 20 and I was working in a psychiatrist hospital.
0:29:51 > 0:29:56And there was another guy working the same job,
0:29:56 > 0:30:01and he was invited to join a band called Kraftwerk in the studio.
0:30:01 > 0:30:05He asked me, "Would you like to join me?"
0:30:05 > 0:30:11I didn't know the band, and I didn't have anything better going on, so I said, "OK, I join you."
0:30:13 > 0:30:19When I jammed with Ralf Hutter it was so apparent that we both had the same idea for melody and harmony,
0:30:19 > 0:30:23which was definitely not American, not blues.
0:30:23 > 0:30:28It was a European music.
0:30:29 > 0:30:34There's a German expression called "Stunde null" - hour zero.
0:30:34 > 0:30:40And that was more or less my situation, so I was really fortunate to meet those guys at that time.
0:30:43 > 0:30:46Rother, and Kraftwerk drummer Klaus Dinger,
0:30:46 > 0:30:53would leave Ralf and Florian to form their own project in 1971, called Neu!
0:30:53 > 0:30:58The basic idea of this fast-forward movement
0:30:58 > 0:31:02was already with us when we performed as Kraftwerk,
0:31:02 > 0:31:10but when Klaus and I started recording the first Neu! album, we just had this basic vision.
0:31:12 > 0:31:14I always lived near water.
0:31:14 > 0:31:18I lived near water in Hamburg, where I was born.
0:31:18 > 0:31:22In Munich, right next to the river - Isar.
0:31:22 > 0:31:24In Wilmslow, on the Bollin.
0:31:24 > 0:31:26HE LAUGHS
0:31:26 > 0:31:27River Bollin.
0:31:27 > 0:31:32And in Pakistan, at the seaside, and Dusseldorf at the Rhine.
0:31:32 > 0:31:36And I feel very comfortable in water and with water and...
0:31:38 > 0:31:44It has... It has some... Some... An effect I can't really explain.
0:31:58 > 0:32:04It's like time, something to do with time, the passage of time.
0:32:06 > 0:32:09And, in a way, it's also a picture like music -
0:32:09 > 0:32:11moving along...
0:32:13 > 0:32:17Like the music, it's... There are some parallels.
0:32:19 > 0:32:22Boy, to put Neu! into words...
0:32:22 > 0:32:27The drummer was playing in a...
0:32:29 > 0:32:33..a way that, when you listen to it...
0:32:33 > 0:32:37allowed your thoughts to flow.
0:32:37 > 0:32:42Allowed emotions to...come from within,
0:32:42 > 0:32:46and occupy the active parts of your mind, I thought.
0:32:46 > 0:32:51It allowed beauty to get there...
0:32:52 > 0:32:59The guy has somehow found a way to free himself from the tyranny of stupid...
0:32:59 > 0:33:04blues, rock...of all conventions that I'd ever heard.
0:33:05 > 0:33:06Some sort of a...
0:33:08 > 0:33:11..pastoral psychedelicism.
0:33:14 > 0:33:22I mean, at that time it was still a period of leaving the German history behind.
0:33:22 > 0:33:25That was also part of the story, the...
0:33:25 > 0:33:32the conservative remains of post-war Germany, Nazi times, was still to be found everywhere.
0:33:38 > 0:33:41I admired Willy Brandt, for instance.
0:33:41 > 0:33:45That was a figure I really looked up to.
0:33:45 > 0:33:51Neu! once played for Willy Brandt. He was for reconciliation of Germany with the eastern countries.
0:33:52 > 0:33:58Kneeling down in Warsaw, asking for forgiveness in the name of Germany.
0:33:58 > 0:34:02That was something that really appealed to my thinking.
0:34:05 > 0:34:10Despite combining a spirit of sonic adventure with a desire to transcend Germany's past,
0:34:10 > 0:34:15none of these bands could catch a cold in their homeland in the early '70s.
0:34:17 > 0:34:22Germans, who liked progressive rock, simply bought records by British and American bands.
0:34:27 > 0:34:33Since the mid-'60s, German record companies had been searching for their own Beatles...
0:34:33 > 0:34:34without success.
0:34:36 > 0:34:41But, in 1969, Uwe Nettelbeck - a sort of teutonic tony Wilson -
0:34:41 > 0:34:46was tasked, by Polydor, to find the Electronic Beatles.
0:34:46 > 0:34:47This is what he came up with.
0:34:47 > 0:34:48SQUEAK
0:34:48 > 0:34:49CRASH
0:34:49 > 0:34:51SQUEAK
0:34:53 > 0:34:54CRASH
0:34:54 > 0:35:00Faust formed in 1971. They came from Wumme, near Hamburg.
0:35:02 > 0:35:04CRASH
0:35:05 > 0:35:09Yes, Uwe was interested in revolutionary ideas,
0:35:09 > 0:35:13and he took this opportunity and...
0:35:13 > 0:35:15sold us, maybe, as the new Beatles.
0:35:15 > 0:35:16But that's where it ends.
0:35:16 > 0:35:24He was well aware, and everybody except Polydor was well aware that we were doing experimental stuff.
0:35:24 > 0:35:31And they gave us a studio, which was great, with a day-and-night sound engineer at our disposition
0:35:31 > 0:35:33which was great, we were very privileged.
0:35:36 > 0:35:42Because of the social situation in the '60s, '70s,
0:35:42 > 0:35:47there was lots of revolutionary thoughts in the air, on all levels
0:35:47 > 0:35:53so I guess artists usually are just a mirror of what's happening.
0:35:53 > 0:36:00And rock'n'roll was not enough to reflect all the facets of what was happening.
0:36:10 > 0:36:14We are very influenced by whatever is around us.
0:36:14 > 0:36:20So anything that sounds good, looks good to us, we would use it.
0:36:20 > 0:36:25And so it's left to chance.
0:36:27 > 0:36:34Cement mixer - I like it, so I will play it and I will try to go a bit deeper into that.
0:36:34 > 0:36:38You know, living is art, art is living, life is art.
0:36:39 > 0:36:41HE SINGS INTO THE MIXER
0:36:46 > 0:36:51In the village, funny enough, after they had known us,
0:36:51 > 0:36:54they realised we were quite OK.
0:36:54 > 0:37:00We had visit from the local... What you call it?
0:37:00 > 0:37:03Somebody who is simple in the mind? The village idiot.
0:37:05 > 0:37:09When we would play our music, it would soothe his mind.
0:37:27 > 0:37:33While Faust's unusual sounds weren't quite what German Polydor had in mind...
0:37:34 > 0:37:39..they and the other German bands were coming to the attention of foreign ears.
0:37:41 > 0:37:46# Who do you think you are kidding, Mr Hitler
0:37:46 > 0:37:49# If you think we're on the run... #
0:37:49 > 0:37:53Britain in the '70s was still obsessed by the war.
0:37:53 > 0:37:59We won, they were still the enemy, and German jokes were part of our everyday culture.
0:37:59 > 0:38:02And the British music press were not immune.
0:38:02 > 0:38:08They grouped all the experimental German groups going under the label, "Krautrock."
0:38:10 > 0:38:13It was good to be called Krautrock. We even made a song like this.
0:38:16 > 0:38:20I remember that, from my father,
0:38:20 > 0:38:26that the Krauts are coming. That was the word they said, cos of Sauerkraut.
0:38:26 > 0:38:29# Deutschland, Deutschland uber... #
0:38:30 > 0:38:32LAUGHTER
0:38:32 > 0:38:36Krautrock, actually... I don't like it so much
0:38:36 > 0:38:39because it's a kind of insult.
0:38:39 > 0:38:41Here, watch. Who's this, then?
0:38:41 > 0:38:45HE IMITATES HITLER
0:38:45 > 0:38:47I'll do the funny walk!
0:38:47 > 0:38:52But, really, it makes me laugh because I don't feel like making Krautrock
0:38:52 > 0:38:56but, of course, it could also say it's a terrible name.
0:38:56 > 0:39:00It's like if the French would say "Boschrock," something like that.
0:39:00 > 0:39:04Damn it! I'm trying to cheer her up, you stupid Kraut!
0:39:06 > 0:39:09And, furthermore, there was no real Krautrock scene.
0:39:09 > 0:39:13The bands came from all over Germany, and were not even aware of each other.
0:39:13 > 0:39:16Perhaps the only personal link between them was Conny Plank,
0:39:16 > 0:39:23a visionary producer who worked with Cluster, Can, Kraftwerk and Neu!
0:39:23 > 0:39:28It wasn't ALL bad, though. The interest in Britain translated into foreign record sales.
0:39:28 > 0:39:33The early-to-mid '70s was the height of prog rock in the UK,
0:39:33 > 0:39:36and the Krautrock bands fit in nicely.
0:39:36 > 0:39:41The UK's number one prog label, Virgin, signed nearly all the Krautrockers.
0:39:41 > 0:39:44And, in one case, bit off more than they could chew.
0:39:45 > 0:39:51Richard Branson was...gambling.
0:39:51 > 0:39:57So he gambled, he say, "Let's go to Germany, I gamble on those."
0:39:57 > 0:40:03It didn't work with Faust, because we still had the same attitude -
0:40:03 > 0:40:05no compromise.
0:40:05 > 0:40:08And then he lost interest in us.
0:40:08 > 0:40:13Or I think we made trouble, but I can't remember. We smoked too much.
0:40:35 > 0:40:37HE SPEAKS GERMAN:
0:40:39 > 0:40:41Yes. Yes.
0:40:42 > 0:40:43- THEY LAUGH - Ja.
0:40:43 > 0:40:44Yes.
0:40:44 > 0:40:46- What was the problem?- The food.
0:40:46 > 0:40:48HE SPEAKS GERMAN:
0:41:05 > 0:41:09Other Virgin bands were more successful.
0:41:09 > 0:41:14Tangerine Dream became hugely popular in the UK in 1974,
0:41:14 > 0:41:18after they were invited to play at Reims Cathedral in France.
0:41:21 > 0:41:24The beginning of a concert, 6,000 people were in this cathedral,
0:41:24 > 0:41:30where just 2,000 had a chance, even to stand -
0:41:30 > 0:41:34not to sit, to stand. You can imagine how the church looked
0:41:34 > 0:41:36when all the crowd went out.
0:41:36 > 0:41:40So, that was a...such as disaster
0:41:41 > 0:41:46and then, I got a letter from the Vatican,
0:41:46 > 0:41:52saying, because of this, we are not allowed to play in a Catholic church again.
0:41:53 > 0:42:01Then, about three weeks later, I got a letter from the Dean of the Liverpool Cathedral in England.
0:42:02 > 0:42:08He heard about it and said, "OK. If they don't allow you to play in any of their cathedrals,
0:42:08 > 0:42:12"we invite you to all of our cathedrals, worldwide." So...
0:42:16 > 0:42:19The country was great. You know, we...
0:42:20 > 0:42:22We stood in our hotel in Coventry.
0:42:22 > 0:42:25I went out in the morning of the concert.
0:42:26 > 0:42:32At the lobby, there was a news stand and I saw a picture of myself.
0:42:32 > 0:42:34So I read the line.
0:42:34 > 0:42:41"40 Years back, they came to bomb the place, today they come on synthesisers."
0:42:49 > 0:42:51Eins, zwei, drei, vier...
0:42:51 > 0:42:53SYNTHESISER PLAYS
0:43:01 > 0:43:06But the band who would truly break through were Kraftwerk.
0:43:09 > 0:43:13By 1974, Ralf and Florian had gone totally electronic,
0:43:13 > 0:43:19ditching the guitar and drums and hiring other Musikarbeiter, to work in their famous Kling Klang Studio.
0:43:23 > 0:43:27This is famous Mintropstrasse here, where we are right now.
0:43:27 > 0:43:31At the moment, this is not so interesting for normal people,
0:43:31 > 0:43:36but for electronic music people, they know what Mintropstrasse is because the Kling Klang Studio was there.
0:43:50 > 0:43:52You can't see much here.
0:43:54 > 0:43:59It's just some steps. That was the way up to that door.
0:43:59 > 0:44:03And then to the left was the main entrance to the Kling Klang Studio
0:44:03 > 0:44:06which is only these two windows.
0:44:21 > 0:44:24HE SPEAKS GERMAN:
0:44:34 > 0:44:37Germany developed more and more after the war.
0:44:37 > 0:44:40Everything had to be rebuilt, neu Autobahn.
0:44:40 > 0:44:42As they build more Autobahns and more Autobahns,
0:44:42 > 0:44:48and we could drive longer Autobahns and longer and faster and faster.
0:44:48 > 0:44:52And the engines became stronger and the cars more and more beautiful.
0:44:56 > 0:45:02Young men, which we were, could afford to buy such cars
0:45:02 > 0:45:07and we took a car and went, just for fun, on the Autobahn.
0:45:07 > 0:45:10120, 140, 150, that was fun.
0:45:10 > 0:45:18We opened the window and we heard, "pft, pft, pft, nyaaaaaoooow-ow-ow!"
0:45:18 > 0:45:20Or we had the wind, "pf-pf-pf."
0:45:20 > 0:45:24And we made all of these things...music.
0:45:28 > 0:45:31In combining a progressive technological vision of Germany,
0:45:31 > 0:45:37with electronic music, humour and romanticism, Kraftwerk had transcended Krautrock.
0:45:37 > 0:45:41They didn't even look like scruffy Krautrockers anymore.
0:45:42 > 0:45:46Ralph and Florian came from very elegant and rich houses.
0:45:46 > 0:45:50They could afford to have handmade shoes.
0:45:50 > 0:45:57And Ralph and Florian rubbed their noses on the windows of shoe shops
0:45:57 > 0:46:01where they made, for 1,000 Deutsche Marks, handmade shoes.
0:46:03 > 0:46:07We wanted to be so different from England, from America,
0:46:07 > 0:46:13this was why we had our hair short, we wore elegant suits,
0:46:13 > 0:46:16which were made for us, you know.
0:46:25 > 0:46:28The big one for me was Radio-Activity.
0:46:29 > 0:46:34I would go to sleep at night listening to a Geiger counter.
0:46:34 > 0:46:35All it is, is...
0:46:35 > 0:46:38HE MAKES AN IRREGULAR PULSING NOISE
0:46:40 > 0:46:46..as they manipulate the wand closer and father from a piece of radioactive material.
0:46:47 > 0:46:51# Radio-activity
0:46:54 > 0:46:59# Is in the air for you and me... #
0:46:59 > 0:47:06I went shopping once for asparagus with Florian Schneider.
0:47:06 > 0:47:09I met the two of them and he suggested...
0:47:09 > 0:47:13- IN DEEP GERMAN VOICE: - "Well, if you like, it is the asparagus season,
0:47:13 > 0:47:18"I am going to the market to select some asparagus.
0:47:18 > 0:47:21"Would you like to come along?" I said, "Yes, I would."
0:47:21 > 0:47:25And we had a very nice time doing that!
0:47:26 > 0:47:30# Tune into the melody... #
0:47:30 > 0:47:32TRANSLATION:
0:47:57 > 0:47:59TRANSLATION:
0:48:10 > 0:48:14I never felt like a Mensch Maschine, you know, I was not a music worker
0:48:14 > 0:48:18as Ralph always liked and used to explain.
0:48:18 > 0:48:21I always corrected him afterwards.
0:48:21 > 0:48:26"I'm not, Ralph! I don't feel..." "Don't tell that anymore!", you know.
0:48:26 > 0:48:28"I'm not a music worker."
0:48:29 > 0:48:34# Radio-activity... #
0:48:34 > 0:48:36It was always fun, until the end, you know.
0:48:37 > 0:48:40But the end is always not so fun.
0:48:41 > 0:48:44Cos it's the end, you know? It stops.
0:48:51 > 0:48:54Kraftwerk's complete artistic vision transformed them
0:48:54 > 0:48:56into the one truly global German band.
0:49:01 > 0:49:04The same could not be said of their electronic peers
0:49:04 > 0:49:08such as the equally pioneering Cluster who by the early '70s
0:49:08 > 0:49:13decided it was time to leave Berlin and get back to the country.
0:49:15 > 0:49:22Roedelius and Moebius took up residence in a 16th-century hamlet in Forst in Lower Saxony
0:49:22 > 0:49:26where they were joined by Neu! guitarist Michael Rother
0:49:26 > 0:49:27to form Harmonia.
0:49:47 > 0:49:51The first Harmonia album was recorded right here.
0:49:52 > 0:49:56You see the room on that...
0:49:56 > 0:50:02On that photo, hanging on the wall, it's the inside of the first Harmonia album.
0:50:02 > 0:50:04And you see that oven?
0:50:04 > 0:50:09That was the only way we could heat the studio in winter.
0:50:09 > 0:50:12HE LAUGHS
0:50:12 > 0:50:14You can imagine the cold fingers and cold feet!
0:50:16 > 0:50:19It's so special to have this view.
0:50:20 > 0:50:24You look for miles and you don't see any human structure.
0:50:27 > 0:50:31In 1974, Harmonia's ambient electronica came to the attention
0:50:31 > 0:50:35of a British rock star in search of a new direction.
0:50:35 > 0:50:41I first liked Roxy Music without knowing Brian,
0:50:41 > 0:50:44and I thought to myself,
0:50:44 > 0:50:48"What a stupid, extravagant guy that must be."
0:50:48 > 0:50:51Just from the picture.
0:50:55 > 0:50:59He came to a concert of Harmonia in Hamburg in '74,
0:50:59 > 0:51:01he was very nice,
0:51:01 > 0:51:05and we said to him, "Come to our place and let's do some real music."
0:51:05 > 0:51:11Another two years passed before he rang and said, "Can I come and see you?"
0:51:11 > 0:51:13And that's what he did.
0:51:17 > 0:51:21Brian came to our house to learn from us
0:51:21 > 0:51:27and we didn't go to him to learn from him,
0:51:27 > 0:51:31he didn't know what to do, really, I think in this moment.
0:51:31 > 0:51:33He was at a dead end of a street.
0:51:36 > 0:51:38There was not the idea to record an album.
0:51:38 > 0:51:45We just exchanged ideas, took walks and played ping-pong,
0:51:45 > 0:51:50and stuff like that. It was a very pleasant stay.
0:51:50 > 0:51:56And at the end we had I think three tapes full of music which Brian took with him and -
0:51:56 > 0:52:00he brought those blank tapes with him, we were poor,
0:52:00 > 0:52:02and we didn't have blank tapes...
0:52:04 > 0:52:08It did really change a lot in our life.
0:52:08 > 0:52:14But he said to me once in the studio, "Don't worry, Moeby, you will be rich as well one day."
0:52:15 > 0:52:17But he still is not right!
0:52:19 > 0:52:24He left Forst and the idea was to continue working together
0:52:24 > 0:52:31but that didn't happen. He left to record - I think it was - Low with David Bowie...
0:52:33 > 0:52:38In 1976, David Bowie started a new career in a new town.
0:52:43 > 0:52:47Bowie was famous for being in the right place at the right time,
0:52:47 > 0:52:50and in '76 he knew Berlin was the place to be.
0:52:53 > 0:52:57Accompanied by Brian Eno, Bowie would record his albums Low and Heroes
0:52:57 > 0:53:00in Berlin's magnificent Hansa Studio.
0:53:14 > 0:53:21My memories are that this room has a nice acoustic, maybe you can listen to it.
0:53:24 > 0:53:28You can hear this little echo behind my claps.
0:53:29 > 0:53:35And I think that was what David Bowie liked very much with this big hall by the wall.
0:53:42 > 0:53:48The studio's control room, now a bar, looked out upon a watchtower on the Berlin Wall.
0:54:00 > 0:54:03I am quite sure they knew what was going on here.
0:54:03 > 0:54:11When we sat in front of this console with a few lamps on top,
0:54:11 > 0:54:18I just directed one of the lamplights to the policeman, and David and Tony
0:54:18 > 0:54:22just jumped down under the console and said, "Don't do that!"
0:54:24 > 0:54:30And I said, "It's funny, it's a joke. They would never hurt us anyway."
0:54:31 > 0:54:36Bowie would assimilate some of the Krautrock vibe on both albums.
0:54:36 > 0:54:40Side two of Low would showcase Eno's Cluster influences.
0:54:40 > 0:54:45And Bowie originally intended to record Heroes with Krautrock musicians.
0:54:45 > 0:54:46# I...
0:54:48 > 0:54:49# I wish I could swim
0:54:52 > 0:54:54# Like the dolphins
0:54:56 > 0:54:58# Like dolphins can swim... #
0:54:58 > 0:55:04David Bowie called me in '77 and that would have been interesting to record
0:55:04 > 0:55:09with Brian Eno and David Bowie in Berlin but something went wrong.
0:55:10 > 0:55:11# We can beat them
0:55:13 > 0:55:15# For ever and ever... #
0:55:17 > 0:55:24He said that those two tracks of Neu! '75 were his favourite tracks -
0:55:24 > 0:55:26Hero and After Eight.
0:55:26 > 0:55:33It's anybody's guess where the name for that album came from.
0:55:35 > 0:55:39Released in '77, Heroes was a big hit for David Bowie.
0:55:40 > 0:55:43But the real heroes were the Krautrockers.
0:55:44 > 0:55:46# Ich...
0:55:47 > 0:55:50# Ich bin dann Konig
0:55:53 > 0:55:55# Und du...
0:55:56 > 0:55:58# Du Konigen
0:56:01 > 0:56:03# Obwohl sie
0:56:04 > 0:56:06# Unschlagbar scheinen
0:56:09 > 0:56:11# Werden wir Helden
0:56:13 > 0:56:15# Fur einen Tag. #
0:56:15 > 0:56:17The funny thing is...
0:56:18 > 0:56:22they're doing something they call Krautrock again.
0:56:26 > 0:56:30So I have to decide, shall I go there?
0:56:30 > 0:56:37What I fear is that it's only related to the word Krautrock
0:56:37 > 0:56:41and not to the music, and even if it's related to the music,
0:56:41 > 0:56:47it misses the more important part, being Krautrock as part of a social movement.
0:56:47 > 0:56:52And you can play the records again, but this won't come back.
0:57:04 > 0:57:08Krautrock may be over but theirs is not an unhappy ending.
0:57:11 > 0:57:16Today these artists remain as gloriously uncompromising as they ever were.
0:57:18 > 0:57:21Unlike many of their Anglo-American peers,
0:57:21 > 0:57:25they have refused to be drawn into becoming establishment figures.
0:57:30 > 0:57:32There are no Knights of the Realm here,
0:57:32 > 0:57:36just happy experimental musicians.
0:58:15 > 0:58:17Subtitled by Red Bee Media
0:58:17 > 0:58:20Email Subtitling@bbc.co.uk