0:00:34 > 0:00:35# It's more fun to compute
0:00:38 > 0:00:39# It's more fun to compute
0:01:21 > 0:01:25# I program my home computer
0:01:25 > 0:01:28# Beam myself into the future
0:01:57 > 0:02:01# I program my home computer
0:02:01 > 0:02:03# Beam myself into the future... #
0:02:21 > 0:02:25'The comment that Kraftwerk are more influential, more important,'
0:02:25 > 0:02:27more beautiful than the Beatles could ever be
0:02:27 > 0:02:29is becoming less and less odd
0:02:29 > 0:02:32and more and more exactly what we always thought it would be -
0:02:32 > 0:02:33the truth.
0:02:38 > 0:02:39In the late '60s and early '70s,
0:02:39 > 0:02:43when Kraftwerk were striving to find a new artistic voice
0:02:43 > 0:02:46in the pop-cultural vacuum of post-war Germany,
0:02:46 > 0:02:50few would have predicted that these reclusive Rhineland experimentalists
0:02:50 > 0:02:53would become one of the most influential pop groups of all time.
0:02:53 > 0:02:56But that is exactly what happened.
0:02:56 > 0:02:59Painting on a refreshingly blank canvas, they created
0:02:59 > 0:03:02emotional electronic music that fused commercial pop
0:03:02 > 0:03:05with the Avant Garde, an industrial folk music
0:03:05 > 0:03:08with global appeal that predicted what music would sound like
0:03:08 > 0:03:11and the world would look like in the Digital Age.
0:03:34 > 0:03:38Kraftwerk's influence has grown with every passing year and now,
0:03:38 > 0:03:4245 years later, they've been embraced by the art world,
0:03:42 > 0:03:46their Gesamtkunstwerk celebrated in elaborate 3D concert seasons
0:03:46 > 0:03:49at iconic art spaces in New York, Dusseldorf, London,
0:03:49 > 0:03:51Sydney and Tokyo.
0:03:51 > 0:03:54The most apt of these events took place in the former
0:03:54 > 0:03:56power station at London's Tate Modern.
0:03:56 > 0:03:58Eight nights sold out in minutes,
0:03:58 > 0:04:01with ticket demand crashing the servers, and the public
0:04:01 > 0:04:05and critical hysteria confirming their status as a work of art.
0:04:05 > 0:04:09With over 100,000 disappointed fans stuck outside in the cold,
0:04:09 > 0:04:13our cameras were invited in by the group to capture world-exclusive
0:04:13 > 0:04:16impressions of their sensational show for this film -
0:04:16 > 0:04:17Kraftwerk - Pop Art.
0:04:19 > 0:04:23Putting them in a gallery or a museum is utterly appropriate,
0:04:23 > 0:04:28because they are, in a way, living sculptures, they are an installation.
0:04:28 > 0:04:30They are an installation that involves a commentary on pop music,
0:04:30 > 0:04:33a commentary on show business.
0:04:33 > 0:04:36But that's not all that it is. What it is mostly
0:04:36 > 0:04:41is a fascinating comment on reproduction, on what
0:04:41 > 0:04:46happens to a work of art when it becomes a mass-produced object.
0:04:46 > 0:04:48It's got all those elements in it.
0:04:48 > 0:04:52Just the whole aesthetic completely fits, not only the space -
0:04:52 > 0:04:56the power station, turbine hall of Tate Modern - but they've
0:04:56 > 0:04:59influenced so many visual artists that we've worked with.
0:04:59 > 0:05:04It's sort of a consecration to actually be allowed in
0:05:04 > 0:05:08the inner sanctum of curated art,
0:05:08 > 0:05:13because it's an admission that what they do is actually timeless
0:05:13 > 0:05:17enough and representative enough of our culture that it
0:05:17 > 0:05:22should really merge with, say, visual works, for the most part.
0:05:22 > 0:05:25The next thing that comes in to the Tate Modern is Roy Lichtenstein
0:05:25 > 0:05:27and that's the world where they belong.
0:05:27 > 0:05:31They've had that much an impact on cultural thought,
0:05:31 > 0:05:35on people making art, on musicians making art.
0:05:35 > 0:05:38They are beyond just playing a venue.
0:05:38 > 0:05:39Marc Camille Chaimowicz,
0:05:39 > 0:05:42an artist who is in our Bigger Splash exhibition
0:05:42 > 0:05:45at the moment, has used their music and been inspired by them.
0:05:45 > 0:05:47Mark Leckey, who won the Turner Prize a few years ago,
0:05:47 > 0:05:49also cites them as an influence.
0:05:49 > 0:05:51Michael Clark, the choreographer,
0:05:51 > 0:05:55who has always worked across disciplines, loves their music.
0:05:55 > 0:05:58There are many. I mean, so many artists wanted tickets
0:05:58 > 0:05:59to come and see them here.
0:06:28 > 0:06:32# Interpol and Deutsche Bank
0:06:32 > 0:06:36# FBI and Scotland Yard
0:06:36 > 0:06:39# CIA and KGB
0:06:39 > 0:06:43# Control the data memory
0:06:43 > 0:06:45# Business
0:06:45 > 0:06:47# Numbers
0:06:47 > 0:06:49# Money
0:06:49 > 0:06:51# People
0:06:51 > 0:06:52# Business
0:06:52 > 0:06:54# Numbers
0:06:54 > 0:06:56# Money
0:06:56 > 0:06:57# People
0:07:28 > 0:07:32# Interpol and Deutsche Bank
0:07:32 > 0:07:35# FBI and Scotland Yard
0:07:35 > 0:07:39# CIA and KGB
0:07:39 > 0:07:42# Control the data memory
0:07:42 > 0:07:45# Communication. #
0:07:45 > 0:07:47Kraftwerk's show actually is a real show,
0:07:47 > 0:07:49but it doesn't rely on the cliches.
0:07:49 > 0:07:51There's something about the standing still that's very
0:07:51 > 0:07:54fascinating as well, as a distillation of performance,
0:07:54 > 0:07:57because the corny movements in rock, the holding of the guitar
0:07:57 > 0:08:02that way, the thrusting of the groin that way, the shaking of the head
0:08:02 > 0:08:07and the swirling of the microphone is ultimately ridiculous and
0:08:07 > 0:08:10monotonous and pointless, that I'd rather think, I think,
0:08:10 > 0:08:12in the end, see the distillation to the stillness,
0:08:12 > 0:08:14with all that going on around them.
0:08:14 > 0:08:18But it is performance, you know, and it is transfixing.
0:08:18 > 0:08:19That was a really important thing for us,
0:08:19 > 0:08:21was the visual aspect of what they're doing,
0:08:21 > 0:08:24which is becoming more and more important for them.
0:08:24 > 0:08:30And they've put so much work into the visual 3D show as part of this.
0:08:30 > 0:08:32It took years to make it work properly,
0:08:32 > 0:08:34to make the robots work, to make all those things work.
0:08:34 > 0:08:38The technology has come to the point where it can get better and better.
0:08:38 > 0:08:41So it's a show, it's a concept that can continue to develop.
0:08:41 > 0:08:43I think that's what drives them, I think the fascination of how
0:08:43 > 0:08:46far they can go with that technology.
0:08:47 > 0:08:51Kraftwerk came into being when Ralf Hutter met Florian Schneider
0:08:51 > 0:08:55on an improvised-music course at Dusseldorf Conservatory in 1968.
0:08:55 > 0:08:58Early incarnations of the band included a live drummer
0:08:58 > 0:09:00and a guitarist who went on to form Neu!
0:09:00 > 0:09:01But in the flourishing
0:09:01 > 0:09:05German music scene of the day, the band with which they had most
0:09:05 > 0:09:09in common were classically-inspired electro experimentalists, CAN.
0:09:09 > 0:09:12The two acts jammed together at an art gallery,
0:09:12 > 0:09:15and their first official concert together was a freeform,
0:09:15 > 0:09:19televised youth show from a youth club in Unna in 1970,
0:09:19 > 0:09:21before Kraftwerk had released a single album.
0:11:25 > 0:11:27SHE SCREAMS
0:11:49 > 0:11:53The influential British rock press lumped together the many and various
0:11:53 > 0:11:57German bands of that era under a quirky title that gave no hint
0:11:57 > 0:12:01of how revered and influential many of them would be in decades to come.
0:12:03 > 0:12:07There's this whole movement of, you know,
0:12:07 > 0:12:10the Krautrock, or whatever they used to call it,
0:12:10 > 0:12:13between Guru Guru, Ash Ra Tempel, Neu!, Faust, CAN and all that.
0:12:13 > 0:12:16And I was into all that back in those days.
0:12:22 > 0:12:25It was a very different view of that German music.
0:12:25 > 0:12:28For various reasons it was given a slightly affectionate,
0:12:28 > 0:12:30patronising name, the Krautrock thing.
0:13:40 > 0:13:43RAW ROCK MUSIC
0:13:47 > 0:13:48They still seemed to come out of the
0:13:48 > 0:13:50Interstellar Overdrive end of Pink Floyd.
0:13:50 > 0:13:54They still seemed hippy. They still seemed not what they became.
0:14:03 > 0:14:05We obviously filter the whole idea of Kraftwerk now
0:14:05 > 0:14:06through what they've become.
0:14:06 > 0:14:09But there were a few years where they were not yet that
0:14:09 > 0:14:11and they were becoming it. They were always "becoming".
0:14:22 > 0:14:24ENGINE REVS
0:14:24 > 0:14:31# Autobahn... #
0:14:31 > 0:14:35The first impact with Kraftwerk was I guess, for me, seeing the sleeve
0:14:35 > 0:14:38to Autobahn, because that was a revelation, in a way.
0:14:38 > 0:14:42Because then they'd distilled lots of things down to just
0:14:42 > 0:14:45a kind of impression of something
0:14:45 > 0:14:49and seemed, suddenly, very modern.
0:15:00 > 0:15:03# Wir fahr'n fahr'n fahr'n auf der Autobahn
0:15:03 > 0:15:06# Wir fahr'n fahr'n fahr'n auf der Autobahn. #
0:15:10 > 0:15:14Kraftwerk finally crystallised conceptually in 1974 on Autobahn,
0:15:14 > 0:15:15their fourth album.
0:15:15 > 0:15:19The majestic 22-minute title track, featuring lyrics for the first time,
0:15:19 > 0:15:23was a disco hit in America, and the sleeve's simple modernist graphics
0:15:23 > 0:15:26signalled a clear visual identity that Ralf and Florian
0:15:26 > 0:15:30were developing with art school collaborator Emil Schult.
0:15:34 > 0:15:38Design guru Neville Brody, now a lecturer at the Royal College of Art
0:15:38 > 0:15:42in London, was the most influential graphic designer of the 1980s.
0:15:42 > 0:15:46His role as art director of style bible The Face magazine,
0:15:46 > 0:15:49began with his 1982 layout of a Kraftwerk interview.
0:15:49 > 0:15:52He remembers the impact of their visuals most clearly.
0:15:58 > 0:16:01Autobahn is an interesting example where the record cover
0:16:01 > 0:16:03becomes something far more semiotic,
0:16:03 > 0:16:08it's a sign that's being transposed from one purpose to another.
0:16:08 > 0:16:11And it's sort of saying that pop music doesn't necessarily have to be
0:16:11 > 0:16:13self-referential any more.
0:16:13 > 0:16:15It can look at other ideas in society.
0:16:15 > 0:16:17Most of their work on covers
0:16:17 > 0:16:23revolved around using themselves as part of their own brand image
0:16:23 > 0:16:25and not taking it too seriously.
0:16:33 > 0:16:35The cover of Trans Europe Express
0:16:35 > 0:16:38was a subversive slap in the face of rock chic.
0:16:38 > 0:16:41In the year of punk, Hollywood black-and-white glamour
0:16:41 > 0:16:43photos show the group in pseudo-period settings
0:16:43 > 0:16:47and poses, while Emil Schult's affectionately kitschy colour
0:16:47 > 0:16:50poster has them looking like city gents out for Sunday lunch
0:16:50 > 0:16:55in a country restaurant, a diamante music-note brooch on Florian's lapel
0:16:55 > 0:16:58the only indication that they are not, in fact, chartered accountants.
0:16:59 > 0:17:02# We are showroom dummies... #
0:17:05 > 0:17:08They started to build a connection between Dadaism,
0:17:08 > 0:17:10constructivism and modern music.
0:17:21 > 0:17:24The Man Machine sleeve that Kraftwerk did was very much
0:17:24 > 0:17:28influenced by the look and feel of Russian constructivism
0:17:28 > 0:17:33and it was born out of the idea that the future would be
0:17:33 > 0:17:38built by engineers and scientists, and that, in fact, our faith
0:17:38 > 0:17:42in engineering was what was going to bring us to Utopia.
0:17:42 > 0:17:44So, it was a kind of Utopian idea.
0:17:44 > 0:17:46It was extremely experimental.
0:17:46 > 0:17:49It was a lot of angles,
0:17:49 > 0:17:52very strong typography, which eventually ended up
0:17:52 > 0:17:54in a kind of a Bauhaus space,
0:17:54 > 0:17:56which then influenced everything we do.
0:18:07 > 0:18:11Constructivism was very engaging, it was very powerful.
0:18:11 > 0:18:15And the prime influence within constructivism
0:18:15 > 0:18:18was a man called Alexander Rodchenko.
0:18:19 > 0:18:23And the Kraftwerk covers, at the early stages,
0:18:23 > 0:18:26very much related to a kind of Rodchenko way of looking.
0:18:27 > 0:18:31So there was a kind of heroic workers' ethic.
0:18:31 > 0:18:35The workers were also going to help build the future, the strong use
0:18:35 > 0:18:38of red and black which were, of course, the Communist colours...
0:18:38 > 0:18:41Red and black were also the colours of a lot of
0:18:41 > 0:18:44fascistic movements within the 20th century.
0:18:44 > 0:18:47So Kraftwerk were playing on that middle ground, to be honest -
0:18:47 > 0:18:51you know, where does heroics become self-defeating?
0:18:51 > 0:18:54So something that's democratic becomes dictatorial.
0:19:11 > 0:19:15The scope of the way of thinking that Kraftwerk had within
0:19:15 > 0:19:18record covers was quite radical.
0:19:18 > 0:19:20It actually lead, I think,
0:19:20 > 0:19:22to a lot of, certainly the early punk covers
0:19:22 > 0:19:24and the early New Wave covers.
0:19:24 > 0:19:27Factory Records were clearly influenced by this,
0:19:27 > 0:19:30as was the early work of Malcolm Garrett.
0:19:30 > 0:19:34So you have Autobahn as this very simplistic statement.
0:19:34 > 0:19:37Autobahn was radical at the time.
0:19:37 > 0:19:39There was no other record covers like this.
0:19:46 > 0:19:49Autobahn won Kraftwerk new fans, like Rainer Werner Fassbinder
0:19:49 > 0:19:53and David Bowie, the latter touring Europe in a vintage Mercedes
0:19:53 > 0:19:55playing Autobahn non-stop
0:19:55 > 0:19:58and telling everyone that Kraftwerk were his favourite band, an act
0:19:58 > 0:20:02of patronage that forever changed their status with the rock press.
0:20:04 > 0:20:07David Bowie, in the '70s, was like your Google search at the time.
0:20:07 > 0:20:10Whatever David Bowie mentioned was therefore where you went.
0:20:10 > 0:20:13Bowie had altered his trajectory
0:20:13 > 0:20:15explicitly because of Kraftwerk,
0:20:15 > 0:20:18and that was an incredible, almost
0:20:18 > 0:20:20an advertising campaign for Kraftwerk, if you like.
0:20:20 > 0:20:22A commercial endorsement
0:20:22 > 0:20:24and a sense that we now all
0:20:24 > 0:20:26wanted to find out the history
0:20:26 > 0:20:28of this incredible group that had
0:20:28 > 0:20:30influenced the most extraordinary
0:20:30 > 0:20:32period of David Bowie's life.
0:20:35 > 0:20:38# ..Radiophone... #
0:20:38 > 0:20:41RADIO STATIC
0:20:56 > 0:20:58To leave the daytime free for cycling,
0:20:58 > 0:21:01Kraftwerk worked night shifts, clocking in at their legendary
0:21:01 > 0:21:06Dusseldorf Kling Klang Studio like workers at a sound factory.
0:21:06 > 0:21:09The albums they produced there sounded like nobody else,
0:21:09 > 0:21:11partly because they had challenged technicians to develop new
0:21:11 > 0:21:15instruments for them, equipment not available to anyone else.
0:21:32 > 0:21:34And the yearning, romantic beauty of the music
0:21:34 > 0:21:37they created with that equipment shattered the strongly held
0:21:37 > 0:21:40misconception of electronic music as emotionally frigid.
0:21:46 > 0:21:49Ideologically, the wood of the blues
0:21:49 > 0:21:52and therefore rock was where authenticity lay.
0:21:52 > 0:21:56And somehow, there was still, which is weird,
0:21:56 > 0:22:00a troubled response to machines.
0:22:00 > 0:22:04There was somehow soul in holding a wooden piece of instrument
0:22:04 > 0:22:07and somehow soullessness in having a machine.
0:22:07 > 0:22:11But I always felt that it was almost the opposite, that it emphasised
0:22:11 > 0:22:15and framed and illuminated the soul that was in Kraftwerk.
0:22:15 > 0:22:17That tenderness, that real humanity.
0:22:17 > 0:22:19Because they were prepared to deal with machines
0:22:19 > 0:22:22and use machines to distribute their ideas and information.
0:22:22 > 0:22:26They were extraordinary geniuses at melody
0:22:26 > 0:22:29and it was the melody that ultimately carried through the soul.
0:22:35 > 0:22:38Kraftwerk weren't the first, but we consider them to be the first,
0:22:38 > 0:22:41to understand the potential of electronic machines
0:22:41 > 0:22:45and the studio itself and the combination of the two things,
0:22:45 > 0:22:47to really create popular music.
0:22:47 > 0:22:49And of course, everything that happened
0:22:49 > 0:22:51since Kraftwerk has been a continuation of that.
0:22:51 > 0:22:54You take, say, their closest rivals in terms of iconic presence,
0:22:54 > 0:22:55we would say the Beatles.
0:22:55 > 0:22:58Well, the Beatles don't really influence anyone.
0:22:58 > 0:23:00They influence Elton John and George Michael and
0:23:00 > 0:23:01Take That and maybe ELO, at a pinch.
0:23:01 > 0:23:03But they don't really influence anything.
0:23:03 > 0:23:06It's almost like that was a juddering halt already, to an extent.
0:23:06 > 0:23:09Whereas Kraftwerk constantly release information.
0:23:09 > 0:23:11They influence the Avant-Garde end,
0:23:11 > 0:23:13the area that went way out
0:23:13 > 0:23:16and even all the way up to glitch and it all started to disintegrate
0:23:16 > 0:23:20and even the harder, stranger areas of dubstep.
0:23:20 > 0:23:25But you also hear it in Kylie Minogue and the popular mainstream.
0:23:25 > 0:23:28You hear the ghost of Kraftwerk everywhere.
0:23:28 > 0:23:30And that's another wonderful element of Kraftwerk,
0:23:30 > 0:23:33they haunt the imagination,
0:23:33 > 0:23:34they haunt the world.
0:23:34 > 0:23:38As the light goes out now and you look out, you kind of see
0:23:38 > 0:23:40a visual representation of the sound of Kraftwerk.
0:23:40 > 0:23:44You know, for me, the soundtrack you would use to represent this
0:23:44 > 0:23:46is going to be Kraftwerk.
0:23:46 > 0:23:49# Neon lights
0:23:49 > 0:23:54# Shimmering neon lights
0:23:54 > 0:23:59# And at the fall of night
0:23:59 > 0:24:02# This city's made of light
0:24:04 > 0:24:06# Neon lights
0:24:08 > 0:24:11# Shimmering neon lights
0:24:12 > 0:24:16# And at the fall of night
0:24:17 > 0:24:20# This city's made of light. #
0:24:22 > 0:24:26Kraftwerk's nerdy commitment to freshness meant they'd
0:24:26 > 0:24:28produced some wonderful sounds.
0:24:28 > 0:24:31Kraftwerk were the poets of that, in a way.
0:24:31 > 0:24:36Exquisite novelty in what sound could do and be
0:24:36 > 0:24:38and how seductive it could be.
0:24:47 > 0:24:51Kraftwerk's genius, in a way, was not just giving it the rhythm
0:24:51 > 0:24:55that then consoled people, and they understood that it was
0:24:55 > 0:24:58attractive because there was this wonderful rhythm -
0:24:58 > 0:25:02but they also applied beautiful melodic sense,
0:25:02 > 0:25:06that wasn't just an understanding of melody within popular music
0:25:06 > 0:25:10or rock music but an understanding of melody that went back centuries.
0:25:10 > 0:25:13And in that sense, I always felt that they were classical musicians
0:25:13 > 0:25:17whose genius was to understand that popular music
0:25:17 > 0:25:20and the way it used the studio was actually where
0:25:20 > 0:25:23the new developments were taking place in music.
0:25:23 > 0:25:28Kraftwerk understood that the studio was as important an instrument
0:25:28 > 0:25:32and an arrival of an instrument as the piano was in Mozart's time.
0:25:34 > 0:25:38We're not only looking at one of the seminal acts in the history
0:25:38 > 0:25:41of electronic music, but, you could say,
0:25:41 > 0:25:43arguably one of the most powerful,
0:25:43 > 0:25:48inspiring ones and therefore probably one of the most likely
0:25:48 > 0:25:50to become as legendary
0:25:50 > 0:25:54as Mozart and Bach,
0:25:54 > 0:25:56some of those composers
0:25:56 > 0:26:01whose work and music we still revere hundreds of years later.
0:26:01 > 0:26:05I see that now. Undoubtedly.
0:26:05 > 0:26:06Without any reservation.
0:26:20 > 0:26:23# Trans Europa Express. #
0:26:47 > 0:26:48Trans Europe Express,
0:26:48 > 0:26:51a mighty groove that emerged from a jam session like a train
0:26:51 > 0:26:54crashing through the studio, saw the percussive hardening
0:26:54 > 0:26:59of their sound, and became a pivotal record in the birth of DJ culture.
0:26:59 > 0:27:02Trans Europe Express was the only record that Grandmaster Flash
0:27:02 > 0:27:06would play uninterrupted and, visiting a loft club in New York,
0:27:06 > 0:27:09Kraftwerk were amazed and pleased to hear the DJ playing
0:27:09 > 0:27:13an extended loop of Metal On Metal, exactly as they would in the studio.
0:27:19 > 0:27:23# Rendezvous auf den Champs Elysees
0:27:23 > 0:27:27# Verlass Paris am Morgen mit dem TEE
0:27:28 > 0:27:32# Trans Europa Express
0:27:33 > 0:27:36# Trans Europa Express. #
0:27:37 > 0:27:40Soon, their unique sounds began to resurface,
0:27:40 > 0:27:44dismembered and out of context, all over the place, forming a recurrent
0:27:44 > 0:27:47theme in every regional black American dance scene from DC Go-Go
0:27:47 > 0:27:52to Detroit techno, until eventually these stiff Germans became the
0:27:52 > 0:27:56most improbably influential white act in the history of dance music.
0:28:05 > 0:28:07What was fantastic about that is, first of all,
0:28:07 > 0:28:08all the white music that borrowed
0:28:08 > 0:28:12so liberally from black music didn't give anything back.
0:28:12 > 0:28:16Kraftwerk sort of...have basically, on behalf of the entire white world,
0:28:16 > 0:28:21handed back some of the debt that is owed to black music.
0:28:21 > 0:28:23Giving so much that white music nicked -
0:28:23 > 0:28:25rock and roll and everything that came
0:28:25 > 0:28:30nicked so much, and it was a dreadful form of cultural colonisation,
0:28:30 > 0:28:35and Kraftwerk in a sort of rather sweet, liberal way, have given back.
0:28:35 > 0:28:37BOOGIE MUSIC PLAYS
0:28:51 > 0:28:53Having spent his teen years listening to
0:28:53 > 0:28:57Krautrock in Strasbourg, Francois Kevorkian moved to New York
0:28:57 > 0:29:01in the mid-'70s, where he got a job drumming alongside DJs in a bar.
0:29:01 > 0:29:04He went on to become one of the most popular underground DJs in America,
0:29:04 > 0:29:07and one of the busiest remixers of the 1980s,
0:29:07 > 0:29:11working with everyone from cult dance legends like D Train
0:29:11 > 0:29:14and Dinosaur L to chart titans U2 and Depeche Mode.
0:29:15 > 0:29:19Francois K was the first creative outsider to penetrate
0:29:19 > 0:29:22Kraftwerk's inner circle, becoming their house mixer.
0:29:22 > 0:29:25Years earlier, he had witnessed their extraordinary impact
0:29:25 > 0:29:26on dance culture first-hand.
0:29:31 > 0:29:35I think the amazing thing about Kraftwerk is how multicultural
0:29:35 > 0:29:40they are, how easily all that music translated to black audiences.
0:29:40 > 0:29:42They just got it, like that.
0:29:42 > 0:29:45Those in New York that started to hear these strange records
0:29:45 > 0:29:49coming over from Germany in the mid-'70s
0:29:49 > 0:29:52probably saw their city and heard their city in this music
0:29:52 > 0:29:55as much as any other music they were listening to.
0:29:55 > 0:29:59Because it was so beautifully rigid and repetitive,
0:29:59 > 0:30:02therefore it was so wonderfully rhythmic.
0:30:02 > 0:30:07And the idea that you could replace the drummer with a machine,
0:30:07 > 0:30:10but the machine would give you this incredible
0:30:10 > 0:30:13insight into the mobility of funk...
0:30:13 > 0:30:18It was that stiff that it was funky. It was like a linear.
0:30:19 > 0:30:22It was almost like an EKG for the hospital.
0:30:22 > 0:30:23It was like...
0:30:23 > 0:30:25HE IMITATES AN EKG MACHINE
0:30:28 > 0:30:31And it was like, "That shit is cool."
0:30:31 > 0:30:35It was so clean, it was so exact
0:30:35 > 0:30:39and so perfect that it had to be funky.
0:30:39 > 0:30:44And to see these dudes, these straight-laced white dudes,
0:30:44 > 0:30:48wearing these ties and these green shirts and green pants
0:30:48 > 0:30:50and this whole androgynous look.
0:30:50 > 0:30:54It was stiff, but it was funky.
0:30:54 > 0:31:01It was just enough of this in the middle of THIS to make it work.
0:31:01 > 0:31:03Trans Europe Express was so funky!
0:31:08 > 0:31:11Just like in a big sound system and all that
0:31:11 > 0:31:14and that metal sounds and all.
0:31:14 > 0:31:15It was just, like, bugged out!
0:31:15 > 0:31:20People were like, "Yo, man, I'm tripping! What's this?!"
0:31:20 > 0:31:24MUSIC: Trans Europe Express
0:31:38 > 0:31:41All these crowds grooving to Trans Europe Express in the summer of
0:31:41 > 0:31:471977, right next to Barry White and Marvin Gaye and Salsoul Orchestra.
0:31:48 > 0:31:52You know, and to these people, to that crowd,
0:31:52 > 0:31:54no-one ever questioned it.
0:31:54 > 0:31:58I mean, people were like, "Wow, that thing you're playing, that's weird,
0:31:58 > 0:31:59"man, what's that?"
0:31:59 > 0:32:01But they loved it.
0:32:01 > 0:32:06And I think even more so with Computer World.
0:32:06 > 0:32:10Where, you know, obviously, Numbers was just like...
0:32:10 > 0:32:12When Numbers came out, it was just like, forget it.
0:32:12 > 0:32:14I mean, like, wow!
0:32:14 > 0:32:21# Eins, zwei, drei, vier, funf, sechs, sieben, acht
0:32:21 > 0:32:25# Eins, zwei, drei, vier, funf, sechs, sieben, acht
0:32:25 > 0:32:29# Eins, zwei, drei, vier, funf, sechs, sieben, acht
0:32:29 > 0:32:32# Eins, zwei, drei, vier, funf, sechs, sieben, acht
0:32:32 > 0:32:36# Eins, zwei, drei, vier, funf, sechs, sieben, acht
0:33:06 > 0:33:10# Eins, zwei, drei, vier, funf, sechs
0:33:10 > 0:33:13# Eins, zwei, drei, vier, funf, sechs
0:33:13 > 0:33:17# One, two, three, four, five, six, seven, eight
0:33:17 > 0:33:21# One, two, three, four, five, six, seven, eight
0:33:21 > 0:33:24# Eins, zwei, drei, vier, funf, sechs
0:33:24 > 0:33:28# Eins, zwei, drei, vier, funf, sechs
0:33:28 > 0:33:32# One, two, three, four, five, six, seven, eight
0:33:32 > 0:33:36# One, two, three, four, five, six, seven, eight
0:34:06 > 0:34:09# Eins, zwei, drei, vier, funf, sechs, sieben, acht
0:34:09 > 0:34:13# Vier, drei, zwei, eins
0:34:13 > 0:34:17# Eins, zwei, drei, vier, funf, sechs, sieben, acht
0:34:17 > 0:34:21# Vier, drei, zwei, eins
0:34:21 > 0:34:25# Un, dos, trois, cuatro
0:34:25 > 0:34:28# Uno, due, tre, quattro
0:34:28 > 0:34:31# Un, dos, trois, cuatro
0:34:31 > 0:34:35# Uno, due, tres, cuatro
0:34:35 > 0:34:37# Ichi, ni, san, shi
0:34:39 > 0:34:41# One, two, three
0:34:43 > 0:34:45# Ichi, ni, san, shi
0:34:46 > 0:34:49# One, two, three
0:34:50 > 0:34:52# Uno, two, zwei, four
0:34:52 > 0:34:54# Uno, two, vier, four
0:34:54 > 0:34:56# Uno, two, zwei, four
0:34:56 > 0:34:58# Uno, two, vier, four
0:34:58 > 0:35:00# Uno, two, zwei, four
0:35:00 > 0:35:01# Uno, deux, vier, four... #
0:35:01 > 0:35:04When we talk about hip-hop, there are different kinds.
0:35:04 > 0:35:06I mean, obviously, there's the down-tempo part,
0:35:06 > 0:35:08the real funky beats and all that,
0:35:08 > 0:35:10but Planet Rock was more like...
0:35:12 > 0:35:15Almost like proto-techno, in a way.
0:35:15 > 0:35:18MUSIC: Planet Rock by Afrika Bambaataa & The Soulsonic Force
0:35:30 > 0:35:32On his ground-breaking hip-hop hits
0:35:32 > 0:35:35Planet Rock, Looking For The Perfect Beat and Renegades Of Funk,
0:35:35 > 0:35:40Afrika Bambaataa fused beats from Trans Europe Express and Numbers
0:35:40 > 0:35:43so prominently that Kraftwerk ended up receiving royalties.
0:35:45 > 0:35:48That was obviously something Arthur Baker
0:35:48 > 0:35:50and John Robie did as a production team.
0:35:50 > 0:35:53I think that was a bit of a genius move on their part
0:35:53 > 0:35:58because they took these two very strong elements
0:35:58 > 0:36:02and made it into something that was just so irresistible.
0:36:06 > 0:36:12I guess history validated that particular record as being one that
0:36:12 > 0:36:15sort of helped start the whole electro movement.
0:36:23 > 0:36:25The Computer World album and tour
0:36:25 > 0:36:29saw Kraftwerk entering the '80s on an all-time high that 1986's
0:36:29 > 0:36:33Electric Cafe album failed to match, which was ironic, as the next year
0:36:33 > 0:36:37their influence was about to explode anew, in Detroit, of all places.
0:36:37 > 0:36:41A cadre of Kraftwerk-crazy producers known as the Belleville Three,
0:36:41 > 0:36:45Derrick May, Juan Atkins and Kevin Saunderson, were busy perfecting
0:36:45 > 0:36:49a new world-beating genre that would soon become known as techno.
0:37:05 > 0:37:08I have only met Ralf Hutter and Florian Schneider once.
0:37:08 > 0:37:11That was in Detroit, that was 15 years ago, for sure.
0:37:11 > 0:37:12There was a huge concert for them,
0:37:12 > 0:37:15it was almost like a restart of their career.
0:37:15 > 0:37:16And they were very happy to come there
0:37:16 > 0:37:20and they sold out a venue that holds 7,000 people.
0:37:20 > 0:37:23It was an amazing show, it was an amazing moment,
0:37:23 > 0:37:25the energy was incredible.
0:37:25 > 0:37:28It wasn't just intellectual heads that were there to hear them play.
0:37:28 > 0:37:29It was kids.
0:37:29 > 0:37:33This was incredible for them because they were playing to, like, fans!
0:37:33 > 0:37:34People that were just loving
0:37:34 > 0:37:36the music and they were screaming and making noise
0:37:36 > 0:37:39and this was, I think, a very important show for them.
0:37:39 > 0:37:44It really sort of sent a chill up the spine of all
0:37:44 > 0:37:45the guys from Kraftwerk, to make
0:37:45 > 0:37:48them realise that they had a second life
0:37:48 > 0:37:51and Detroit was the place where it started. It wasn't just us,
0:37:51 > 0:37:56it was the whole of Detroit, Michigan, the whole of Cleveland,
0:37:56 > 0:37:57the whole of Chicago.
0:37:57 > 0:38:01Black people, man, were locked into this music.
0:38:01 > 0:38:04On regular radio, on daytime radio in America, you could hear
0:38:04 > 0:38:09Pocket Calculator, on the Computer World album, Janet Jackson,
0:38:09 > 0:38:15Rick James and a Prince song, all in less than 30 minutes.
0:38:15 > 0:38:17MUSIC: Pocket Calculator by Kraftwerk
0:38:17 > 0:38:19# ..Spielt er ein kleines Musikstuck
0:38:23 > 0:38:26# Und wenn ich diese Taste druck' Spielt er ein kleines Musikstuck
0:39:41 > 0:39:46# Ich bin der Musikant mit Taschenrechner in der Hand... #
0:39:48 > 0:39:51They were truly enjoying the fact that black people
0:39:51 > 0:39:52were down with this music.
0:39:52 > 0:39:55Even George Clinton was digging it.
0:39:55 > 0:39:57You know, I mean, come on, man.
0:39:57 > 0:40:01You've got the blackest of black men loving this shit
0:40:01 > 0:40:02in the middle of Detroit, Michigan.
0:40:02 > 0:40:05This was incredible. They're more than techno music.
0:40:05 > 0:40:10They are creators of a genre that had no name up until we came along.
0:40:11 > 0:40:16Up until then it was just amazing electronic music from these guys.
0:40:16 > 0:40:19And I really wish they were not part of techno music, really, for them.
0:40:19 > 0:40:21I wish they didn't have to be part of that,
0:40:21 > 0:40:24cos a lot of techno music is shitty.
0:40:24 > 0:40:25A lot of the guys making it don't deserve
0:40:25 > 0:40:28to have their names attached to Kraftwerk.
0:40:36 > 0:40:38Look at the cover to We Are The Robots.
0:40:38 > 0:40:42They played on this, kind of, sexuality thing a little bit.
0:40:42 > 0:40:43They kind of enjoyed it.
0:40:43 > 0:40:47We Are The Robots was definitely their, sort of,
0:40:47 > 0:40:51stepping out moment as a creative, androgynous group.
0:40:51 > 0:40:54Nobody knew for sure if these guys were gay or straight.
0:40:54 > 0:40:56And I think they really enjoyed that.
0:41:04 > 0:41:06"We are the robots," hell yeah!
0:41:06 > 0:41:08MUSIC: The Robots by Kraftwerk
0:41:14 > 0:41:17# We are the robots
0:41:18 > 0:41:21# We are the robots
0:41:23 > 0:41:25# We are the robots
0:41:27 > 0:41:29# We are the robots
0:41:35 > 0:41:37# Ya tvoi sluga
0:41:37 > 0:41:40# Ya tvoi rabotnik
0:41:44 > 0:41:46# Ya tvoi sluga
0:41:46 > 0:41:48# Ya tvoi rabotnik. #
0:41:56 > 0:42:00It was so funky without being funky.
0:42:00 > 0:42:04It was like, as if, it was... Wow!
0:42:04 > 0:42:05It's hard to explain it.
0:42:05 > 0:42:09I mean, the bass line to Computer World, you know,
0:42:09 > 0:42:12that was incredible, man. It's More Fun To Compute...
0:42:12 > 0:42:17These songs, man, it was just like, "Fuck! This shit was on fire!"
0:42:25 > 0:42:27# It's more fun to compute
0:42:29 > 0:42:31# It's more fun to compute
0:42:48 > 0:42:50# It's more fun to compute
0:42:52 > 0:42:54# It's more fun to compute. #
0:43:05 > 0:43:06Computer World was the album
0:43:06 > 0:43:09when they knew they could do everything they wanted to do.
0:43:09 > 0:43:11Everything they dreamed of doing,
0:43:11 > 0:43:13they finally could do it, and they knew it.
0:43:13 > 0:43:16That was the album that they could break the wall.
0:43:16 > 0:43:17And they did it.
0:43:17 > 0:43:22The compositional aspect of how some of that Kraftwerk music is
0:43:22 > 0:43:26structured never ceases to amaze me.
0:43:26 > 0:43:29I think the melodies are very timeless.
0:43:29 > 0:43:32And a good example of that is obviously
0:43:32 > 0:43:35the tip of the hat from Coldplay.
0:43:35 > 0:43:38MUSIC: Talk by Coldplay
0:43:51 > 0:43:55# Oh, brother, I can't, I can't get through... #
0:43:55 > 0:43:58They were very big fans of the band's melodies
0:43:58 > 0:44:02and when they did that song, it was definitely a tribute,
0:44:02 > 0:44:06a tip of the hat or a way of saying, "Wow, we love you so much."
0:44:06 > 0:44:08Everybody, OK?
0:44:11 > 0:44:15# And take a picture of something you see
0:44:19 > 0:44:23# In the future where will I be?
0:44:26 > 0:44:31# You could climb a ladder up to the sun
0:44:35 > 0:44:38# Or you could write a song nobody had sung
0:44:38 > 0:44:42# Or do something that's never been done... #
0:44:43 > 0:44:46For a band like that it's probably the ultimate way
0:44:46 > 0:44:48to show appreciation.
0:45:14 > 0:45:16# Another lonely night
0:45:16 > 0:45:18# Lonely night
0:45:21 > 0:45:23# Stare at the TV screen
0:45:23 > 0:45:25# The TV screen
0:45:28 > 0:45:31# I don't know what to do
0:45:31 > 0:45:32# What to do
0:45:36 > 0:45:38# I need a rendezvous
0:45:38 > 0:45:40# Rendezvous
0:45:59 > 0:46:00# I call this number
0:46:00 > 0:46:02# I call this number
0:46:06 > 0:46:08# For a data date
0:46:08 > 0:46:10# Data date
0:46:13 > 0:46:15# I don't know what to do
0:46:15 > 0:46:17# What to do
0:46:20 > 0:46:22# I need a rendezvous
0:46:22 > 0:46:24# Rendezvous
0:46:40 > 0:46:41# Computer love
0:46:47 > 0:46:49# Computer love
0:48:09 > 0:48:11# Computer love
0:48:16 > 0:48:18# Computer love... #
0:48:37 > 0:48:39KRAFTWERK MERGES WITH COLDPLAY
0:48:39 > 0:48:41MUSIC: Talk by Coldplay
0:48:42 > 0:48:46# Cos you feel like you're going where you've been before
0:48:50 > 0:48:54# You'll tell anyone who'll listen but you feel ignored
0:48:57 > 0:49:01# Nothing's really making any sense at all
0:49:01 > 0:49:05# Let's talk, oh, let's talk
0:49:05 > 0:49:06# My love
0:49:06 > 0:49:09# Oh, do you want to talk? #
0:49:14 > 0:49:18I think it opened their music up to a whole new age group and audience
0:49:18 > 0:49:21that might not, otherwise, really have been aware of them.
0:49:22 > 0:49:24TECHNO MUSIC PLAYS
0:49:34 > 0:49:37Being aware of Kraftwerk does not mean, however, that this new
0:49:37 > 0:49:40generation of fans had it any easier getting tickets to the
0:49:40 > 0:49:41Tate Modern concerts.
0:49:41 > 0:49:43With nine out of ten applicants disappointed,
0:49:43 > 0:49:46young devotees organised a midweek Kraftwerk party in
0:49:46 > 0:49:50fashionable Bethnal Green to coincide with the group's shows.
0:49:56 > 0:49:58Tonight was born out of a frustration that myself,
0:49:58 > 0:50:02personally, having stayed on the phone for nine hours and trying to
0:50:02 > 0:50:06get a ticket to see Kraftwerk perform live at the Tate...
0:50:06 > 0:50:08We felt we wanted to do a night that was exploring the music
0:50:08 > 0:50:10and the visuals.
0:50:10 > 0:50:13We just wanted to do something for those people, including us,
0:50:13 > 0:50:14that didn't get tickets, basically.
0:50:14 > 0:50:17My boyfriend, who's DJing right now, he DJs a lot of techno
0:50:17 > 0:50:20and a lot of minimal house and dance music
0:50:20 > 0:50:23and I'm coming at Kraftwerk from a Krautrock angle
0:50:23 > 0:50:26and so that was one of the things that we could connect about.
0:50:26 > 0:50:29I'm really into Detroit techno so that's the kind of stuff that
0:50:29 > 0:50:32I play and I kind of rediscovered Kraftwerk.
0:50:32 > 0:50:36They're used on a lot of influential tracks that people will find
0:50:36 > 0:50:40again and again, no matter how old they are or what sort of music
0:50:40 > 0:50:41they're listening to.
0:50:41 > 0:50:43So they're constantly going to be rediscovered,
0:50:43 > 0:50:47and they still feel new, even though they've been around for 40 years.
0:50:54 > 0:50:58The difficulty of getting Kraftwerk tickets pales in comparison
0:50:58 > 0:51:00with the difficulty of getting close to the band.
0:51:00 > 0:51:03Regarding themselves as simple workers in the sound factory,
0:51:03 > 0:51:07they rejected the cult of personality from day one
0:51:07 > 0:51:09and are mystified by the public's fascination
0:51:09 > 0:51:11with their private lives.
0:51:11 > 0:51:14They turned down all superstar collaborations,
0:51:14 > 0:51:15including an offer from Michael Jackson,
0:51:15 > 0:51:17and the greater their fame became, the further
0:51:17 > 0:51:21they withdrew from the public gaze, the impenetrable shroud of
0:51:21 > 0:51:26media silence only fuelling the aura of mystique that surrounds them.
0:51:26 > 0:51:28Nobody knows this better than Peter Boettcher,
0:51:28 > 0:51:32who has been Kraftwerk's favourite photographer since the late 1980s.
0:51:32 > 0:51:34As they themselves won't pose for photographs,
0:51:34 > 0:51:36he mainly photographs their robots.
0:51:52 > 0:51:56They were careful enough never to put themselves in a position
0:51:56 > 0:52:00where they were being held prisoner by the media.
0:52:00 > 0:52:03They decided when they wanted the media...to be their prisoner.
0:52:03 > 0:52:07They decided when they wanted to make the industry bow to them.
0:52:07 > 0:52:09It's a really important thing,
0:52:09 > 0:52:12especially in today's age of everybody being on Twitter
0:52:12 > 0:52:18and Facebook and sharing every detail of their private life.
0:52:18 > 0:52:19"I went to the toilet two minutes ago
0:52:19 > 0:52:21"and now I'm going to go wash my feet.
0:52:21 > 0:52:23"I think I'll go eat some spaghetti next
0:52:23 > 0:52:25"and maybe I'll go to the movies."
0:52:25 > 0:52:27As if that's really important. As if your life is really
0:52:27 > 0:52:30so important other people just need to know every move about it.
0:52:30 > 0:52:34When you look at the timeline of people like Mozart
0:52:34 > 0:52:37and classical composers and all that, what's left of them
0:52:37 > 0:52:40is that, the music, their compositions,
0:52:40 > 0:52:44the things that they created, and the rest is just trivial.
0:53:23 > 0:53:25MUSIC: Tour De France by Kraftwerk
0:53:34 > 0:53:36# Tour de France
0:53:36 > 0:53:39# Radio-Tour information
0:53:39 > 0:53:42# Transmission, television... #
0:53:44 > 0:53:47The themes that inform all of Kraftwerk's music,
0:53:47 > 0:53:51travel, communication and the harmonious coexistence of man,
0:53:51 > 0:53:54nature and technology are driven by the dynamic of forward motion.
0:53:54 > 0:53:58Nothing embodies this better than their passion for cycling,
0:53:58 > 0:54:01which produced both the massive 1983 hit Tour De France,
0:54:01 > 0:54:03and their latest studio album.
0:54:15 > 0:54:17'They were the embodiment of the emotion
0:54:17 > 0:54:19'and motion of the 20th century.'
0:54:19 > 0:54:23Distilling it into these wonderful little almost electronic haikus.
0:54:23 > 0:54:25I always think of them as historians, in a way.
0:54:25 > 0:54:28The tracking of what happened in the 20th century, in terms of it
0:54:28 > 0:54:34being about speed, movement, technology, the relationship between
0:54:34 > 0:54:37humans and machines, which was becoming more and more of a problem.
0:54:37 > 0:54:40In that sense, they were also cultural commentators, they were
0:54:40 > 0:54:42like great, kind of, you know...
0:54:42 > 0:54:45They were like Roland Barthes or Walter Benjamin, diagnosing what was
0:54:45 > 0:54:52going on around us and compressing it into this very brief, tender poetry.
0:54:56 > 0:54:59# Radioactivity
0:55:03 > 0:55:07# Is in the air for you and me. #
0:55:07 > 0:55:10Launching in the age of glam rock and hippies, with short hair,
0:55:10 > 0:55:15suits, German vocals and industrial chic, Kraftwerk's styling was
0:55:15 > 0:55:17always provocatively radical, but nothing ruffled
0:55:17 > 0:55:21feathers in left-wing Europe like the Computer World album which, when
0:55:21 > 0:55:26home computers were unheard of, made the tools of state oppression sing.
0:55:26 > 0:55:28Long before there were mobile phones,
0:55:28 > 0:55:31and with lyrics that anticipated the curt language of texting,
0:55:31 > 0:55:34they announced that the computer would soon connect us to the
0:55:34 > 0:55:36world, and we would perceive everything through a ghostly glow
0:55:36 > 0:55:41of pixels to a soundtrack of regulated, machine-generated noise.
0:55:46 > 0:55:49Kraftwerk were aware, in a way, of a future that has led us
0:55:49 > 0:55:53to Google and Apple and Facebook and Twitter.
0:55:53 > 0:55:55But also, because of their understanding of the art world, were
0:55:55 > 0:55:59also very appreciative that if there was too much of the technological
0:55:59 > 0:56:02side, there would also be a loss of the soul, the human side.
0:56:02 > 0:56:05Kraftwerk had a really interesting view of the future,
0:56:05 > 0:56:07which was a nostalgic one.
0:56:07 > 0:56:12And they always used the past expressions of hope,
0:56:12 > 0:56:16which had become defunct, as their main language.
0:56:16 > 0:56:20We're now embedded in a sort of future that they appeared to predict.
0:56:20 > 0:56:22They weren't specifically right about the details,
0:56:22 > 0:56:25and to some extent, they were imagining the 1950s or
0:56:25 > 0:56:27the 1920s as much as anything else,
0:56:27 > 0:56:29but they were the closest of anybody to understand
0:56:29 > 0:56:31what was going to happen.
0:56:31 > 0:56:36Kraftwerk's approach, whilst extremely gentle and nurturing
0:56:36 > 0:56:39and continual and careful,
0:56:39 > 0:56:41is a revolutionary approach.
0:56:41 > 0:56:45So what they're doing is they're not bringing short, sharp shocks,
0:56:45 > 0:56:49they're bringing a global revolution to the way they work.
0:56:49 > 0:56:51And it's a never-ending story.
0:57:04 > 0:57:06# Boing, boom, tschak, zong
0:57:06 > 0:57:08# Boing, boing, boom, tschak, peng. #
0:57:08 > 0:57:12It's funny, the rock critics bemoan, in such an old-fashioned way,
0:57:12 > 0:57:14that there's only one member of Kraftwerk left,
0:57:14 > 0:57:18like it's the Dave Clarke Five or Sweet or The Tremolos or something.
0:57:18 > 0:57:21But of course, it doesn't matter who is in Kraftwerk.
0:57:21 > 0:57:24Kraftwerk itself is the work of art.
0:57:24 > 0:57:26It's a bit like moaning that when you see a Picasso,
0:57:26 > 0:57:27there's no Pablo Picasso.
0:57:27 > 0:57:28Well, no, he's dead.
0:57:28 > 0:57:30When all members of Kraftwerk have died,
0:57:30 > 0:57:32Kraftwerk will still exist as a work of art.
0:57:32 > 0:57:34You're looking at a living,
0:57:34 > 0:57:39breathing exhibition of historic electronic art.
0:57:39 > 0:57:42The sound quality, the production, that's the future.
0:57:42 > 0:57:46Just to listen to it and archive it,
0:57:46 > 0:57:48make it part of a history lesson.
0:57:48 > 0:57:50Put it in...
0:57:50 > 0:57:54You have Duke Ellington and Miles Davis songs,
0:57:54 > 0:57:55put it right next to that.
0:57:55 > 0:57:57Disco and Kraftwerk, put them together
0:57:57 > 0:58:01and you've got the whole history of music ever since the mid-'70s.
0:58:01 > 0:58:04I still remember the first time I heard Trans Europe Express,
0:58:04 > 0:58:07the first time I heard I Feel Love, Donna Summer.
0:58:07 > 0:58:08There was no turning back.
0:58:08 > 0:58:11I mean, once you've heard this
0:58:11 > 0:58:14and you compare it to all the other stuff, you just go,
0:58:14 > 0:58:16"OK, party over. It's done. They won."
0:58:16 > 0:58:18For those of us who were fans,
0:58:18 > 0:58:21who attached ourselves loyally to the colours of Kraftwerk
0:58:21 > 0:58:25in the '70s and '80s...have also been proved right in our taste.
0:58:25 > 0:58:26We were right!
0:58:26 > 0:58:29Myself, I'd like to say thank you very much to Kraftwerk.
0:58:29 > 0:58:31That's my words.
0:58:31 > 0:58:34Thank you for the opportunity to grow up with your music.
0:58:34 > 0:58:37When I want to relax, when I want to watch the sunset,
0:58:37 > 0:58:41when I just want to drive my car for a long, straight distance
0:58:41 > 0:58:45really fast, that's my music that I need to rejuvenate
0:58:45 > 0:58:47myself from all the bullshit out here in the world.
0:58:47 > 0:58:52I need to remind myself of the level of quality there once was.
0:58:52 > 0:58:55And I would say, for any young people today,
0:58:55 > 0:58:57you really need to turn off the computer and the TV
0:58:57 > 0:59:01for a little while and just close your eyes and see what you see.
0:59:01 > 0:59:03Because you just might see yourself.
0:59:48 > 0:59:50# Music
0:59:50 > 0:59:51# Non-stop. #