Album #77 : Kraftwerk - Autobahn

Kraftwerk

Autobahn (1974)

There are bands in every genre who transcend their genre labels, being considered by all and sundry to be legends and pioneers in music. Bands that, even though you hate a genre, you can't help but admire, or at the very least, respect for the immensity of their contribution to music.

German electronic geniuses Kraftwerk are such a band.

Even people who hate, or are generally ignorant of, electronic music in all its forms can tell you something about Kraftwerk. Whether it's "aren't they the weird German robot dudes" or "hey they're the guys that play their whole live show behind four laptops", they are themselves a pop culture icon. (I bet they hate that.)

Autobahn was not their first album. It was not even their first electronic album (that honour belonged to the little-known predecessor, Ralf und Florian, named, of course, after the band's visionaries, Ralf Hutter and Florian Schneider). However, the sheer technological wizardry and groundbreaking use of electronic effects on the title track, as well as the group's inventiveness (famously, the electronic drums used on the album were invented and built by Hutter and Schneider themselves) would see this album considered one of the most influential albums in electronic music.

The Album

Autobahn is the opener, and what an opener it is. Beginning with the roar of a car engine, and a horn played on a synthesiser, what follows is nothing short of a masterpiece; a 22 minute musical recreation of the sounds and experiences of driving on one of Germany's famous autobahns. The heavy use of phasing on the droning synth chords is meant to evoke the monotony of driving long distances, and every so often there's a synth line, simulating the Doppler effect of cars zooming past, that goes from one channel to another. There's also a more pleasant section, that features guitar and flute, seemingly describing driving through wonderful, peaceful scenery. At nine minutes, the track takes a more industrial tone, the Doppler droning becomes more prominent, as the song indicates that the driver is in the fast lane, flying past cars with ease, while the Moog bass line thumps away, steady, unflinching, immovable.

There's even a section that depicts the tuning of a radio, going through the different radio stations (which seem to all be contributing something to do with the Autobahn) complete with the squeal of the detuned radio. Genius.

It's also the only album on the track with lyrics; the repeated refrain Wir fahren fahren fahren auf der Autobahn (We drive drive drive on the Autobahn) is heard several times. There are also some heavily vocoded sections that sound positively evil. The chords change at about the sixteen minute mark, and while the intent is the same the tone shifts slightly, to be more akin to the feeling you get when you know that a long journey is almost at an end, that kind of hopeful relief.

Basically, it is an absolute masterpiece given it manages to convey an entire series of feelings and events using largely electronic instrumentation....in 1974. 

After that, the rest of the album is a bit of an anti-climax, though the remaining songs are also unified by a common theme - that of the night. The Kometenmelodies (Comet Melodies) were inspired by Comet Kohoutek, first sighted the year before. The first 'Melody' begins with a near-tuneless electronic melody, before a doom-laden, ominous section begins (complete with deep, rumbling electronic drum blasts, as if some giant monster is stomping through the forest). The second 'Melody' is much more formed; dense, pretty synthesiser chords are supported by a steady electronic beat and the occasional electronic chimes. It is a stark contrast to the moody, blackly depressing Melodie 1, and is a far better song. 

The last two tracks are Mitternacht (Midnight) and Morganspaziergang (Morning Walk). The former contains a quite ominous section where the electronic drums are used to play a slow rhythm, that's a cross between the drip of water in an empty, metallic basement and the clacking of heels on a tiled floor. Over that is played an even more ominous set of synth chords and the hellish whine of spooky electronics. As a mood piece it's bloody eerie and very effective. The latter starts with an amazingly creative recreation of birdsong, using only electronic instruments; there's a plaintive, hopeful flute line, then what (to me) sounds like the babbling of a stream, again played with electronic instruments. Finally, the song concludes with a piano, guitar and flute melody. It again is a contrast to the rest of the album.

The Verdict

A great album by a group of visionaries. The title track alone needs to be heard to be believed. This album showcases why Kraftwerk are the godfathers of electronic music. Inventive, tuneful, artistic; it has it all. There's some compositions that fall a bit flat, but on the whole it's a beacon of risktaking invention.

My rating: ****

Standout Tracks

Autobahn

Kometenmelodie 2

Tomorrow's album is a little known indie release from a Canadian band. It's another attempt by me to review a more recent album to keep things fresh. See you then!