Ralf Hütter (born 1946, Krefeld, Germany) and Florian Schneider (born 1947, Düsseldorf, Germany) met while they were studying improvised music in Düsseldorf, Germany. In 1967 Ralf Hütter (organ), Florian Schneider (violin, flute), Basil Hammoudi (vocals), Butch Hauf (bass) and Fred Monics (drums) formed the group Organisation, released the album Tone Float and split shortly thereafter. The album features repetitive percussion and bass drum patterns embellished with guitar, flute, violin and organ.
After disbanding Organisation, Ralf Hütter and Florian Schneider adopted the name Kraftwerk. Early Kraftwerk line-ups from 1970–1974 fluctuated, as Hütter and Schneider worked with around a half-dozen other musicians, most notably Andreas Hohmann (drums; 1970), Houschäng Néjadepour (guitar; 1970), Charly Weiss (drums; 1970/71), Eberhard Kranemann (cello, bass, hawaii-guitar; 1970/71), Klaus Röder (electric guitar, electronic violin; 1974), Michael Rother (guitar; 1970-71) and Klaus Dinger (drums; 1970-71). For a short period in 1970/71 Ralf Hütter left the band to complete his degree in architecture. There were some sessions/concerts with the line-up "Schneider, Kranemann, Weiss", "Schneider, Hohmann, Kranemann, Rother, Dinger" and "Schneider, Rother, Dinger" in that time. In 1971 Rother and Dinger left Kraftwerk to form the band Neu!.
Their first three albums were more free-form experimental rock without the pop hooks or the more disciplined strong structure of its later work. Their debut album, Kraftwerk, released in 1970, and Kraftwerk 2, released in 1972, were mostly exploratory jam music, played on a variety of traditional instruments including guitar, bass, drums, electric organ, flute and violin. Post-production modifications to these recordings were then used to distort the sound of the instruments, particularly audio-tape manipulation and multiple dubbings of one instrument on the same track. Connie Plank co-produced the first four Kraftwerk albums. Emil Schult has also collaborated on many releases, contributing both lyrics and graphics.
Live performances from 1972–73 were made as a duo, using a simple beat-box-type electronic drum machine, with preset rhythms taken from an electric organ. These shows were mainly in Germany, with occasional shows in France. In 1973, Wolfgang Flür (electronic percussion) joined the group.
With Ralf und Florian, released in 1973, the band began to move closer to its classic sound, relying more heavily on synthesisers and drum machines. Although almost entirely instrumental, the album marks Kraftwerk's first use of the vocoder, which would, in time, become one of its musical signatures.
In 1974, they issued the fourth studio album, Autobahn. This critically acclaimed album marked Kraftwerk's breakthrough and established them as purveyors of electronic music. The title track is intended to capture the feeling of driving on the Autobahn: from travelling through the landscape, the high-speed concentration on the fast lane, to tuning the car radio and the monotony of a long trip. An edited version of "Autobahn" song reached #25 on the US Billboard Hot 100 chart and #11 in the UK.
In 1975, Karl Bartos (electronic percussion, live vibraphone, live keyboards) joined the band. The Hütter-Schneider-Bartos-Flür formation is now regarded as the classic line-up of Kraftwerk, which remained in place until the late 80s.
In 1975, Kraftwerk released the concept album Radio-Activity (German version: Radio-Aktivität). The hyphenated album title displays Kraftwerk's typical deadpan humour, being a pun on the twin themes of the songs, half being about radioactivity and the other half about activity on the radio. The title track "Radioactivity" was released as a single, and became a hit in France after it was used as the theme to a popular music show. This was the first Kraftwerk album to be entirely self-produced by Hütter & Schneider in their Kling Klang studio, and the first one to be performed by the classic line-up of Kraftwerk.
In 1977, Kraftwerk released the highly influential album, Trans-Europe Express. Critics have described the album as having two specific themes: celebration of Europe and the disparities between reality and image. Musically, the songs on this album differ from the group's earlier Krautrock style with a focus on electronic mechanized rhythms, minimalism, and occasional manipulated vocals. Two singles supported the album: "Trans-Europe Express" and "Showroom Dummies".
By the time of 1978's The Man-Machine (German version: Die Mensch-Maschine), Kraftwerk had created their own unmistakable brand of "robot pop". NME said of The Man-Machine: 'It is the only completely successful visual/aural fusion rock has produced so far". Kraftwerk spent three years building their own Kling Klang studios in the late 70s, complete with, inevitably, scores of computers. The single "The Model", gave the band a surprise hit when it topped the UK charts in 1982.
In 1981 Kraftwerk released their eight studio album, Computer World (German version: Computerwelt). This album combined the use of the sequencer to create the sound now known as electro, inspiring the first producers in Detroit in creating techno, as well as innumerable other artists including Gary Numan, Depeche Mode, and New Order, among many others. This album had the theme of computers taking over the world in the future. It was a commercial success, spawning the singles "Pocket Calculator", "Computer World" and "Computer Love". For this album, the band embarked on the massive Computer World world tour.
The EP Tour De France was issued in 1983. This song was featured in the film Breakdance and became the theme for the cycling event of the same name in that year. In 1986, the ninth studio album Electric Café was released. The album received mixed reviews. Two singles were issued from the album: "Musique Non-Stop" and "The Telephone Call".
In 1987 Wolfgang Flür departed and it was replaced by Fritz Hilpert. In 1991, Kraftwerk's best known songs were collected together and re-recorded on the compilation The Mix.
The single Expo 2000 released in December 1999 came as a surprise for Kraftwerk fans. A brand new song, although low key, sparked hopes of a new album. A video was released for this track, showing the band playing in wireframe suits, but no public appearances or interviews until 2003.
In 2003 the band released Tour de France Soundtracks, its first album of new material since 1986's Electric Café. The album was recorded for the 100th anniversary of the first Tour de France bicycle race, although it missed its original release date during the actual Tour. A completely new recording was made for the "Tour De France" track, based on the original 1983 arrangement.
In June 2005, Kraftwerk released Minimum-Maximum, their first official live album. It features two CDs and tracks recorded on their world tour during 2004, including concerts in Warsaw, Moscow, Berlin, London, Budapest, Tallinn, Riga, Tokyo and San Francisco. The band also released a live DVD.
Florian Schneider officially left the band in January 2009, though news of his departure was reported as early as April 2008. His place was taken over by Stefan Pfaffe.
In 2009, the band issued The Catalogue (German version: Der Katalog), a box-set comprising eight albums by Kraftwerk that were released from 1974 to 2003. All albums were digitally remastered, with most of the cover art redesigned, including rare photographs in the liner notes that were not part of each album's original release.
Following the release of The Catalogue and Florian Schneider's departure, Kraftwerk began a series of live tours, in which they would perform the entirety of the eight albums included in that box set. These performances featured surround sound and live video in 3D with provided glasses. During these tours, in 2012, Falk Grieffenhagen replaced Stefan Pfaffe as live video operator. In 2017, Kraftwerk released 3-D The Catalogue (German version: 3-D Der Katalog), containing the live performance versions of the tracks on The Catalogue, available with visuals on Blu-ray. It won a Grammy Award that year for Best Electronic/Dance Album.
Kraftwerk's influence has been incalculable. Hundreds of artists today in nearly every electronic music subgenre bear witness to their work. They are also reclusive, rarely giving interviews and making no media appearances. To this day Kraftwerk continues to tour precisely crafted sets of their classic songs with 3-D visuals.
Official site: http://www.kraftwerk.com
Antenna
Kraftwerk Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Catching vibration
You're the transmitter
Give information!
Wir richten Antennen ins Firmament
Empfangen die Töne die Niemand kennt
I'm the transmitter
I give information
Catching vibration
Es Strahlen die Sender Bild, Ton und Wort
Elektromagnetisch an jeden Ort
I'm the Antenna
Catching vibration
You're the transmitter
Give information!
Radio Sender und Hörer sind wir
Spielen I'm Ã?ther das Wellenklavier
I'm the transmitter I give information
You're the antenna catching vibration
I'm the antenna catching vibration
You're the transmitter give information
The lyrics to "Antenna" by Kraftwerk are an ode to the relationship between communication technology and human perception. The song draws a parallel between the roles of transmitter and antenna and the relationship between humans and technology. The singer posits that just as an antenna receives and translates vibrations into information, people are also receivers of messages from the world around them. The transmitter, then, represents the technology that sends out these messages.
The lyrics suggest that technology is a crucial tool for human interaction and communication, and that we rely on it to extend our senses beyond what we can experience on our own. The line "Wir richten Antennen ins Firmament / Empfangen die Töne, die niemand kennt" (We direct antennas towards the firmament / Receiving tones that nobody knows) implies that there is a vast universe of information out there that we cannot access without the help of technology. The line "Radio Sender und Hörer sind wir / Spielen im Äther das Wellenklavier" (We are the radio sender and listener / Playing the waves on the ether piano) further emphasizes the idea that humans are active participants in the communication process, manipulating and interpreting the waves that we receive.
Line by Line Meaning
I'm the Antenna
I am the device that captures and receives electromagnetic waves, which can carry information in the form of sound, images, or data.
Catching vibration
My purpose is to intercept the oscillations in the air or space, which are caused by changes in electric and magnetic fields around me.
You're the transmitter
You are the source of the electromagnetic waves that carry signals and messages, which can be encoded and modulated in various ways.
Give information!
Your role is to impart meaningful content, knowledge, or entertainment to the audience or recipient of your transmissions.
Wir richten Antennen ins Firmament
We point our antennas towards the heavens or the sky, hoping to capture the unknown or surprising sounds or signals that exist beyond our planet or atmosphere.
Empfangen die Töne die Niemand kennt
We receive the sounds, noises, or frequencies that nobody knows or understands, which may come from other galaxies, stars, or beings.
Es Strahlen die Sender Bild, Ton und Wort
The transmitters emit images, sounds, and words, which can travel through the air, the vacuum, or the wires, and reach any receiver or listener who can detect them.
Elektromagnetisch an jeden Ort
The signals can propagate and spread throughout the world or the space, due to the electromagnetic properties of the waves, which can carry energy, information, and influence.
Radio Sender und Hörer sind wir
We are both the creators and the consumers of the radio waves, which have become a ubiquitous and global medium of communication and entertainment.
Spielen I'm Ã?ther das Wellenklavier
We play the keyboard made of waves that exists in the aether or the electromagnetic spectrum, selecting and modulating the frequencies and intensities to generate the sounds and messages we want to transmit.
I'm the transmitter I give information
I have the power to emit and transmit useful or interesting data, ideas, or creations, which can enrich or enlighten the minds and hearts of the listeners or viewers.
You're the antenna catching vibration
You have the sensitivity and the capability to capture and process the signals and noises that pass through you, which can result in new insights, emotions, or actions.
I'm the antenna catching vibration
I can also be the receptor or the instrument that senses the invisible or inaudible disturbances or energies around me, which can influence my mood, my health, or my creativity.
You're the transmitter give information
You can also be the source of valuable or inspiring content, which can spark discussions, debates, or collaborations, and contribute to the progress or the beauty of our world.
Lyrics © MUSIC SALES CORPORATION, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: STEVEN KILBEY, PETER KOPPES, RICHARD PLOOG, MARTY WILLSON-PIPER
Lyrics Licensed & Provided by LyricFind
Astralplain *CHANNEL CLOSED*
Lyrics:
I'm the antenna
Catching vibration
You're the transmitter
Give information!
Wir richten Antennen ins Firmament
Empfangen die Töne die niemand kennt
I'm the transmitter
I give information
You're the antenna
Catching vibration
Es strahlen die Sender Bild, Ton und Wort
Elektromagnetisch an jeden Ort
I'm the antenna
Catching vibration
You're the transmitter
Give information!
Radio Sender und Hörer sind wir
Spielen im Äther das Wellenklavier
I'm the transmitter
I give information
You're the antenna
Catching vibration
Wir richten Antennen ins Firmament
Empfangen die Töne die Niemand kennt
I'm the antenna catching vibration
You're the transmitter give information
I'm the transmitter I give information
You're the antenna catching vibration
Tritium5678
I'm the Antenna
I'm the Antenna
Catching vibration
Catching vibration
You're the transmitter
You're the transmitter
Give information!
Give information!
We direct antennas into the sky
Wir richten Antennen ins Firmament
Receive the sounds nobody knows
Empfangen die Töne die Niemand kennt
I'm the transmitter
I'm the transmitter
I give information
I give information
You're the antenna
You're the antenna
Catching vibration
Catching vibration
It beams the transmitters picture, sound and word
Es Strahlen die Sender Bild, Ton und Wort
Electromagnetic to every place
Elektromagnetisch an jeden Ort
I'm the Antenna
I'm the Antenna
Catching vibration
Catching vibration
You're the transmitter
You're the transmitter
Give information!
Give information!
Radio stations and listeners are us
Radio Sender und Hörer sind wir
I'm aether playing the wave piano
Spielen I'm Ã?ther das Wellenklavier
I'm the transmitter I give information
I'm the transmitter I give information
You're the antenna catching vibration
You're the antenna catching vibration
I'm the antenna catching vibration
I'm the antenna catching vibration
You're the transmitter give information
You're the transmitter give information
Source: LyricFind
Songwriters: Steven Kilbey / Peter Koppes / Richard Ploog / Marty Willson-Piper
Antenna (3-D) lyrics © Sony/ATV Music Publishing LLC, Songtrust Ave
Marcos Silveira Camargo
"EU TIVE A FELICIDADE DE OUVIR ESSA PODEROSA ALEGORIA ELETRÔNICA DO KRAFTWERK, JUNTAMENTE COM O ÁLBUM INTEIRO EM 1975, ANO EM QUE FOI LANÇADO. É INCRÍVEL CONSTATAR QUE NÃO ENVELHECEU NEM UM POUQUINHO (AO CONTRÁRIO DA MINHA PESSOA)." - M.S.C.
Alexandre Frange
Imagino como foi escutar esse álbum na época Marcos, deve ter sido incrível! Tem mais detalhes de como foi a experiência?
Nortron
exato, são músicas do futuro
Mario Tondato
The best electronic album ever made for ever never amén
goldenenergy
Every time I hear this song I think, "I can't believe this came out in 1975." So incredibly prescient.
Peter Revens
I have this feeling, that the guys from Depeche Mode got inspired by this one.
Carla Mattei
Ralf Zóio-de-Gato e Florian Cabeção cantando juntos é uma boa sintonia!
Alexandre Frange
HAHAHAHAHA ótimo comentário, só vindo de um brasileiro mesmo, somos únicos nesse mundo!
steev smith
Fabulous track from way back in the day. Thankyou Kraftwerk. Thankyou Florian Schneider, R.I.P. (6.5.2020)
piccololmondolantico
Masterpiece. Great Album and song!