The Man-Machine

Nice album, really like

**Intro** The peak of Kraftwerk was probably between 1974 and 1981, this album was released in 1978, and was among their best. Kraftwerk, along with Tangerine Dream, was part of the Krautrock movement, and constituted some of the *first ever* electronic music. This was way before the whole notion that electronic was mostly appropriate for disco dancing or synth pop. One gets the impression that back in the 70s, people weren't even sure if this music was going to be performed in night clubs or concert halls. Because of this, typical Kraftwerk material is disciplined, quiet, and symphonic, which makes it really neat, and suitable for even people who aren't necessarily fans of most electronic music. **The Songs** This album is in the format of a relatively few number of long songs. Here is a summary of them: 1.) The Robots - The chorus contains the repetitive chant "We are the Robots" with voice distortion, and it sounds very sinister, as if the robots are planning to take over the word. In the verses, they say that they will do anything you want them to do, and then there are also Russian lyrics about the robots being your slave and your worker. The electronic accompaniment has a very wet and fluid sound to it, especially considering it was made with 1970's equipment. The song is 6:12 long. 2.) Spacelab - A serene, spacey song that reminds me of the "sound-scaping" of Jean Michel-Jarre or Tangerine Dream. The beat accompaniment has similar vigor and timbre to that of The Robots, but it is more gentle and sophisticated. At times, the beat is more symphonic than it is dance-y. The melody is sad and lonely at time, as if the astronauts on Spacelab might be lonely in their space station. The lyrics in this song are very sparing, and just say "Space...Lab..." occasionally with very thick vocal distortion. 3.) Metropolis - This song might be referring to the German movie "Metropolis," though I'm not sure. As with Spacelab is just has sparse lyrics that occasionally say "Me...tro..polis," and that's it. The melodies kind of morph from one thing to another, rather like some of the most abstract experimental electronica does today. The sounds have very rich timbre in this song, making them seem symphonic, and like the Kraftwerk musicians spent a lot of time designing the exact timbre of every little sound. 4.) The Model - Far less abstract than Spacelab and Metropolis, this sound contains lots of lyrics, and is about a professional model, but the attitude about the professional model is pessimistic, and seems to suggest the objectification, commercialization and shallow attitude that society had back then (and still does today) about models. The beat is kind of happy and perky like the model would appear to be, but is also accompanied by long heavier tones that bring about the pessimistic attitude and real consequences that Kraftwerk wants to communicate. 5.) Neon Lights - This is a happier song that to me seems to reflect like a happy, relaxing night out on the town with friends. A night in a paradise city that is lit up with cheerful lights at night, and full of friendly people. The tones, beats, and lyrics suggest this. 6.) The Man Machine - This song is again more abstract like Spacelab and Metropolis are. The lyrics are minimal, and say "....Man....Machine" with thick distortion of the voice, and some other lyrics that I have difficulty understanding because they are so heavily distorted. The tones of the voice start low pitched a rise up, giving them a gigantic and ominous attitude. The beat in the background is somewhat similar to The Robots. In some ways this song is like a reprise to The Robots. Compared together, there really aren't weak songs on this album. I think most people would prefer The Robots and The Model the best, but there really aren't any throwaway songs on here. I'm sure Kraftwerk meant for people to enjoy the album as a whole, so try to buy the whole album, so that you can enjoy it as a complete work. I wouldn't necessarily recommend this with all bands' music, but with this album, I do. **Summary** If you are interested in Kraftwerk, you should definitely buy this album. It is some of their best work, together with Autobahn, Trans-Europe Express, Radio-Activity, and Computer World. If you listen to this album, and then go back out into the world and listen to modern electronic, pop, and hip-hop, you will see the influence that this music has had, to the point that you will hear frequent samples of it being put into new music today!!! Be sure to check out the Kraftwerk music videos online of this album too. They are odd and interesting.

"Man Machine" by Kraftwerk is a superb sounding cd that has a good collection of unique sounds. "Man Machine" definitely sounds like a great cd that would be a good fit for many science fiction films. I say this because the songs have a great mix of futuristic electronica music melodies. My favorite songs on this compilation would be "Neon Lights", "Spacelab", and "The Model". "Spacelab" is a great musical track that has some very strong high-energy beats with a futuristic theme in them. The voice that is used for "Spacelab" complements the song perfectly. "Neon Lights" is a unique musical track that is about the beauty of the kaleidoscope of lights shimmering together in certain cities at night-time. I admit that my overall favorite song is "The Model", because it is a clever blend of an interesting story mixed in with beautiful music. "The Model" is a creative song about a person who is infatuated with a beautiful model who is very much sought after, popular, and successful. This Kraftwerk masterpiece is great to get if you love to listen to classic electronica music.

Kraftwerk in fine form pre-Computer World.

This is one of my favorite albums. The only thing about this album that knocks it off a star is that there are only a few tracks. What I bought this album was for the songs "The Man Machine" and "The Robots". The other songs are very average by their standards. But the two tracks mentioned are some of the best by this group. Too bad they don't have a greatest hits compilation or anthology. The ones I have are either remixes which are not better than the original or live recordings. I am sorry but Kraftwerk does not sound better live. I prefer their studio versions as I go for the sound. I am a fan of Kraftwerk but would not purchase tickets to see their live shows. They are not particularly a show type of band as they are more recording artists. Another thing is that I notice that the price for this album is generally high so if you are looking for this album be prepared to cough up some dough for few tracks and old album.

Love this album. In perfect condition. Brings me back to my teen years. They are the pioneers and innovators of electronic music hands down. Everyone should have this recording in their music library.

Everyone knows how awesome this album is. Everyone knows how ahead of its time this album was, so I'd like to comment on the actual vinyl and packaging. This album is on 180 gram vinyl, and it sounds incredible. The remaster actually improves the sound instead of just making it louder like so many remasters I've come across. It comes in a nice outer sleeve with new artwork, not a gatefold, but it's just as cool! The inner sleeve is a heavier weight picture sleeve featuring a nicer looking version of the original album artwork, and it even comes with a huge booklet full of pictures. I'm impressed with this edition, it is very appropriate for a serious vinyl collector, both for the sound and for the packaging.

I used to listen to this cassette in the early 1980s, mesmerized by this exciting new electronic, robotic sound. The sound was disengaged yet beautiful. When I graduated to cds in the late 1980s, I replaced many of my cassettes and LPs but failed to pick this up. When I learned this was digitally remastered, I decided to get it. The remastery is fantastic and the music still sounds so good, even after 30 years. The electronic/techno music genre owes much to these pioneers.

Muito bom

Prensagem 2009 espetacular! Clássico absoluto! Qualidade sonora absurda ! Sem dúvidas estão no alto da prateleira. Gostaria muito de ver relançado com a capa original

Et si le meilleur disque fait avec des machines, c'était celui-là, sorti bien avant que les machines prennent le pouvoir sur la création artistique ... Kraftwerk fut pendant quelques années à la fin des seventies, un groupe tellement en avance sur son temps que la plupart des musicologues et de ceux qui causaient musique ne savaient trop qu'en penser. Comme tous les autres, les Kraftwerk n'ont à proprement parler rien inventé. Tout juste ont-ils laissé sédimenter sur leurs premiers disques, des sons et des influences peu souvent usités. Ils ont été les premiers et restent encore parmi les seuls (avec Suicide et Air je dirais) à avoir dépassé le cadre expérimental dans lequel des générations entières de joueurs de disquettes se sont perdus depuis, à savoir produire des sons et des ambiances. Kraftwerk, ce qui change tout, c'est qu'ils écrivaient des chansons. Et des chansons pop. Ils sont fans des Beach Boys (leur premier succès, « Autobahn », plus de vingt minutes au compteur, est une extrapolation électronique de « Barbara Ann » de la bande des frangins Wilson), et des Beatles. Et peut-être plus lucides que d'autres, plutôt que de partir dans une fumeuse quête mystique, cosmique, et finalement comique, comme tant dans le krautrock pour transcender le format chansons (ce qui a invariablement donné des surenchères techniques, les solos de dix minutes, les funestes prog et jazz-rock, ...), les Allemands ont fait dans le dénuement. Avec leurs antiques synthés forcément cheap et uniquement avec eux, ils ont écrit des titres d'une naïveté confondante, et qui bizarrement, ont bien vieilli, ou plutôt n'ont pas du tout vieilli. Enfin, naïveté, c'est pas vraiment adéquat. Ils ont su en plus concevoir tout un monde autour de leur musique, et il n'a rien de simpliste ou de naïf. Krafwerk ne fait pas de sa musique un concept (comme tous les zicos « cérébraux » qu'on nous vend depuis cent ans), c'est Kraftwerk lui-même qui est le concept. Puisant dans le passé leur look (uniformes, coupe militaire, gomina, mélange des symboliques totalitaires nazies et communistes sur l'artwork et le lettrage du disque, rien n'est laissé au hasard ...). « The Man-machine » est un concept-album autrement plus fin et audacieux que, au hasard, « Tommy » des Who ou « Tales from machin » de Yes. Qui fait appel à d'autres visionnaires, évidemment l'univers d'un Fritz Lang pour « Metropolis », les oeuvres littéraires d'un Orwell ou d'un Huxley, tous ceux qui décrivaient un monde dans lequel l'homme avait perdu le pouvoir. Cette soumission, cette aliénation, tous ces comportements pavloviens régis par une société de consommation, mieux que personne, Kraftwerk les a exprimés avec ce disque. Parce que oui, il y a des paroles dans leurs morceaux, elles aussi faussement naïves, niveau quarante mots d'anglais maîtrisés, mais qui en disent au moins aussi longs que 3000 vers cryptiques de Bob Dylan. Les titres parlent d'eux-mêmes (« The robots », « Spacelab », « Metropolis », « The model », « Neon lights », « The man-machine »). Les Kraftwerk disent que oui, on nous conditionne comme des robots, que la conquête spatiale n'est qu'une fumisterie pour masquer l'incapacité de l'homme à vivre « naturellement » sur Terre, qu'entasser des gens dans des villes déshumanise la société, que l'apparence physique est devenue un diktat, qu'il n'y a rien de plus flippant qu'une autoroute bien éclairée, et que l'on ne réagit que selon des codes pré ingurgités et non plus spontanément. Evidemment, c'était pas gagné d'avance, les esprits les plus fins ( ? ) de l'époque ont eu vite fait de taxer les Kraftwerk de néo-nazis ou aimables jugements à l'emporte-pièce du même acabit. Les mêmes qui lors d'un concert s'empressent de gueuler à tue-tête dès qu'un chanteur démago leur demande s'ils sont là... ne jamais oublier que le rock est un des genres musicaux les plus réactionnaires qui soient, de par ses origines et son évolution, servi par une cohorte de mégalos cyniques ... Les Kraftwerk ont laissé leurs ego aux vestiaires, signant collectivement leurs titres, alors même que l'on sait maintenant que tout ou presque était l'aeuvre des deux seuls Schneider et Hütter. Les Kraftwerk étaient tellement en avance sur leur temps qu'ils ont inventé le home studio, ayant leur propre structure (le Kling Klang Studio à Düsseldorf, et leur ingénieur producteur attitré Conny Plank). Et puis, je veux bien trouver génial Aphex Twin, Moby, LCD Soundsystem ou qui on voudra de leurs semblables, mais que le jour où ces gens-là seront capables d'écrire des mélodies comme celles de « The Robots », « The Model » et « Neon lights », on me le fasse savoir. Kraftwerk pourrait faire du Roni Size, du Boards of Canada (que ces minus croient pas que je les oublie), l'inverse n'est pas vrai.

J'ai beaucoup écouté ce disque à sa sortie, en 1978, et je l'ai redécouvert avec bonheur. Les mélodies n'ont pas vieilli (sublime The Model !) et Kraftwerk avait 10 ans d'avance sur tout le monde...

I had the original 1978 vinyl pressing when I purchased it around 1981. Since then, the vinyl was lost or misplaced. With the vinyl revival from a few years back, I'm happy to have found the 2009 remastered version. Those who like synthesizer and instrumental music in general coupled with some robot voices will find this German group quite appealing & hypnotic to listen to.