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
Endless Endless
Kraftwerk Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
s.....
"Endless Endless" is a track by Kraftwerk, a pioneering German electronic music band. The song features an upbeat electronic rhythm punctuated by distinct synthesizer sounds layered with ethereal, choral voices that seem to come and go. The lyrics themselves are sparse, consisting of only two words repeated rhythmically, "Endless Endless." While the meaning of the lyrics may seem one-dimensional, they contribute to a deeper interpretation of the song's overall concept.
The repetitive lyrics suggest the endless cycle of life, technology and innovation- something that Kraftwerk has explored in much of their music. In "Endless Endless," they seem to be acknowledging that no matter how far we progress as a society, the cycle of innovation and exploration will never cease. The song serves as an ode to the infinite possibilities that lie ahead for humanity, mapping out a future of unending evolution.
The music itself is also reminiscent of this sense of continuity. It is a testament to the accuracy and precision of Kraftwerk's electronic music, which operates within the same format throughout the entirety of the song, serving as an analogy for the never-ending cycle of human progress. In essence, "Endless Endless" is a deeply philosophical track that marries music and message in a way that speaks volumes about the boundless potential of humanity to continue to push forward.
Line by Line Meaning
Endless... endless...
The repetition of the word emphasizes infinity and repetition, representing the cyclical nature of life and the universe.
The same view
Seeing things from the same perspective, the monotonous routine of everyday life.
The same sky
The constant sky above, unchanging and indifferent to the struggles on earth.
The same memories
The past that repeats itself, memories that are relived in a loop without change.
Endless... endless...
Reiterating the idea of endless repetition and monotony, reminiscent of a never-ending cycle.
The same footsteps
Trudging along the same path, stuck in a rut without progress or growth.
The same clock
The constant ticking of time, unstoppable and uncaring of any individual's struggles or triumphs.
The same heartbeats
The steady beat of the heart, the constant reminder of mortality and the fleeting nature of existence.
Endless... endless...
Repeating the theme of the cyclical nature of life and the infinite nature of time.
The same thoughts
The same patterns of thinking, the repetitive and unchanging inner dialogue.
The same feelings
The same emotions experienced, the monotony of joy, sorrow, and everything in between.
The same dreams
The same aspirations and hopes, the unchanging desire for something better.
Endless... endless...
Underlining the unending repetition and stagnation of life that continues no matter what.
The same machine
The constant hum of machinery, the unrelenting and repetitive nature of modern life and technology.
The same program
The repetition of computer programs, robots, and automation, showing the monotonous and unvaried nature of our modern way of life.
The same data
The unending stream of information and media that floods our lives, constantly repeating the same message over and over again.
Endless... endless...
Repeating the central theme of the song, how life is one unending and repetitive cycle that continues endlessly.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Ralf Huetter, Florian Schneider-Esleben
Lyrics Licensed & Provided by LyricFind
Levan Chkhenkeli
This is the track I thought of when I heard about his passing. RIP Florian.
michele blandino
Soul Is endless. R.I.P Great Florian
Jpeg13759
When you get older, then your gonna MISS people, cause they just die.
I HATE that !
dixgun
Same.
JasperFynn
Especially the „Endless Endless“ part, which is sung by Florian...
Asger Søndergaard
KRAFTWERK fan since 1974, Europe Endless followed by Endless Endless are my favorite tracks.
Tracks, that I can never get tired off listening to.
Tracks that I would die to.
Tracks I hope to listen to in the afterlife🙏...endlessly!
Old’s Kool
Absolutely beautiful & emotionally captivating Synth Classic performed by the masters of electronic music. Kraftwerk
Il Carca
Pure electronic magic, and so much love for music...
W P
Music is the most powerful art form. It can transcend time and place and wordlessly convey every dream and noble thought.
gmcg923
If anyone thinks synthesizers are cold and emotionless, please have them give this a listen.