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English Pages []. Krautrock is a catch-all term for the music of various white German rock groups of the s that blended influences of. Unless you lived through the s, it seems impossible to understand it at all.
Drug delirium, groovy fashion, religiou. In this book, native popular musicologists focus on their own popular music cultures from Germany, Austria and Switzerla. The seventies are probably the most important and fascinating period in modern British political history. They encompass. In this volume the author explores the relationships between music and early modernism in the Austro-German sphere. Following the s, that decade's focus on consciousness-raising transformed into an array of intellectual project.
Anti-Music examines the critical, literary, and political responses to African American jazz music in interwar Germany. In this fascinating new history, Judith Stein argues that in order to understand our current economic crisis we need to. Reissues of long out-of-print albums, eagerly anticipated live appearances by formerly obscure artists like Faust, and the ongoing references to bands like Kraftwerk, Can, and Neu!
Instead, I investigate how national identity gets transformed when it has become impossible to defend as in the case of post-Nazi Germany. As I argue throughout the book, krautrock represents a process in which the nation-state becomes deterritorialized, hybridized, and ironically inverted, as well as increasingly cosmopolitan, communal, and imbued with alternative spiritualities. Therefore, unlike other accounts of the music, this book prominently features artists like Donna Summer and David Bowie.
Many krautrock bands arose out of the West German student counterculture and connected leftist political activism with experimental rock music and, later, electronic sounds. There are no precise dates for krautrock, and while the heyday of the movement was roughly from to , one could also argue that it lasted well into the s. Krautrock and its offshoots have had a tremendous impact on musical production and reception in Great Britain and the United States since the s.
Genres such as indie, post-rock, techno, and hip-hop have drawn heavily on krautrock and have connected a music that initially disavowed its European American and African American origins with the lived experience of whites and blacks in the United States and Europe.
At the same time, while reaching for an imagined cosmic community, krautrock, not only by its name, stirs up essentialist notions of national identity and citizenship. Despite being frequently mentioned in magazines and on Internet blogs, krautrock continues to be a muchunderstudied topic among popular music scholars a notable exception is a special issue of Popular Music and Society from December Connected merely by their destabilizing of the seemingly coherent notion of national identity, krautrock musicians rarely worked with each other or even knew of each other and did not form local scenes that expressed larger issues in regional ways.
This explains how krautrock succeeded through time and space and does not merely reflect historical events. By employing a derogatory term for Germans in its name, krautrock is clearly linked with national identity, but, particularly in times of increased globalization, the nation-state appears as the mediator between the local and the global. Canclini warns of reducing the study of hybridized popular culture to either deductivist or inductivist notions, for example, assuming either that cultural production is exclusively determined by hegemonic sectors or that subaltern forces are solely responsible for shaping popular culture.
Yet when contrasted with essentialist forces, hybrid culture becomes more specific and identifiable. It should not come as a surprise that the spatiality of popular music is one of the major factors that create its hybridity. As George Lipsitz has noted in describing a poetics of place: Recorded music travels from place to place, transcending physical and temporal barriers. It alters our understanding of the local and the immediate, making it possible for us to experience close contact with cultures from far away.
Yet precisely because music travels, it also augments our appreciation of place. Commercial popular music demonstrates and dramatizes contrasts between places by calling attention to how people from different places create culture in different ways. Germany after World War II The impact of the Nazi era, not just on the generation that survived it but also on subsequent generations of Germans, cannot be overestimated. Initially devastated by the allied bombings, West Germany in particular recovered quickly and underwent a complex process of Americanization.
Yet Americanization always met structures of localization, and in some cases, as the belated success of some krautrock groups in the United States proves, West German culture was successfully exported and globalized. Resistance against Americanization has taken shape in various forms of antiAmericanism, in particular in the late s with protests against the Vietnam War. In psychological terms, it was not just the first generation that had survived the terror of National Socialism but also their children and grandchildren that would suffer from the trauma of the Third Reich, albeit in different ways.
The Essen Song Days In both drawing on and departing from standard Anglo-American rock music, krautrock positioned itself in the midst of debates about globalization and national identity right from its earliest appearance at the Essener Songtage Essen Song Days.
They took place from September 25 to September 29, , in the West German city of Essen, part of the industrial Ruhrgebiet Ruhr region. The Essen Song Days were organized by a team led by the eccentric Rolf-Ulrich Kaiser, a music journalist who later founded the krautrock labels Ohr and Kosmische Kuriere before suffering a mental breakdown and retreating from the scene. For instance, a banner calling for Americans to get out of Vietnam was put up behind the stage on the opening night.
The Song Days also included a number of discussion panels and political theater by groups like Floh de Cologne and the Fugs. Finally, protesters who viewed the festival as a government ploy disrupted an event with Wilhelm Nieswandt, the mayor of Essen.
The krautrock groups that appeared at the Essen Song Days were less engaged with direct political action but arguably had a more profound impact through their deterritorialized sonic force, which would still reverberate decades later. Newspaper accounts varied but agreed on the extreme volume and a crowd of fewer than national and international freaks and hippies.
An audience of twelve thousand watched and danced to bands on two stages, accompanied by projections, stroboscopes, and underground films. The event lasted until 7 a. The Term Krautrock Viewed as a genre, krautrock seemingly points to a specific national identity, but, as I will argue throughout this book, it continuously transgresses spatial borders and defies rigid classifications.
The West German music press initially used krautrock as a term to dismiss specific artists. Although it has become fairly common to describe German popular music from the s as krautrock, many performers associated with the music continue to reject the term, and it remains disputed to this day. The positive spin on the term krautrock originated with the British music press. In , the label Brain issued a triple-album compilation of West German music under the title Kraut-Rock.
Although also rejected by many artists associated with it, kosmische Musik remains a somewhat useful term to describe the synthesizer-heavy, meditative anti-rock of some West German musicians of the s. Like krautrock, the term has remained popular in particular with British music critics, who often simply abbreviate it as the grammatically incorrect kosmische. Despite its rejection of Anglo-American influences, krautrock did pay tribute to some of the psychedelic rock bands and other countercultural artists from Great Britain and the United States, namely Pink Floyd, Frank Zappa, and Jimi Hendrix.
Krautrock was influenced by African American music but also involved the conscious departure from blues scales. Through their connections to the avant-garde art world, through their more intellectual approach, and through abandoning traditional song structures, krautrock bands were in some aspects more daring and radical than comparative groups in Great Britain and the United States like Pink Floyd, the Beatles, or the Beach Boys.
As the music scene in West Germany was flourishing in the s, it became increasingly harder to make generalizations about krautrock. While many groups included classically trained musicians, diverted from the blues scales of American psychedelic rock groups like the Grateful Dead, released albums on small labels like Ohr, Pilz, and Brain, moved to the country to live in communes, and employed electronic instruments, none of these characteristics applied to all krautrockers.
While I engage with each of these local scenes in this book, I do not discuss those German bands from the s that were almost indistinguishable from their British and American counterparts. These bands included the internationally successful Scorpions, Nektar, and Triumvirat. Krautrock was an exclusively West German phenomenon.
Students in East Germany had more fundamental needs, which were expressed by singer-songwriters, many of whom were harassed or banned by the Communist government. Rock groups like the Puhdys mostly imitated British and American bands while adding German lyrics.
Despite the absence of krautrock in East Germany, understanding the divided nation is crucial for the politics of the music, in particular West Berlin groups like Tangerine Dream and Ton Steine Scherben, who were tied to West Germany ideologically but not geographically. Chapter Overview This book consists of six chapters. I have chosen to focus on a number of major performers who represent specific themes particularly relevant for a discussion of national identity and globalization.
The narrative moves from a broader application of the argument to a specific analysis of communal strategies and alternative spiritualities. After a brief excursion into cinematic representations, I turn the gaze from inward to outward by looking at musicians on the fringes and outside German national identity. I conclude by discussing the impact krautrock had as a transnational force on later developments.
I am fully aware that, since this book is a critical study and not a popular history, there are a number of important krautrock performers whom I do not discuss at length and a number of popular anecdotes that I do not relate.
A more comprehensive popular account of krautrock in English has yet to be published. The first chapter introduces the major argument of the book by comparing the different ways the groups Can, Kraftwerk, and Neu! Both Can and Kraftwerk employed technological inventions and blended man-made and machine-made music. Through a critical engagement with consumer culture and advertising, Neu! The second chapter connects the music of three krautrock bands to the history of communes and explores how notions of community and conflict, while responding to similar modes of oppression, were expressed in vastly different ways.
The third chapter recounts the rise and fall of kosmische Musik. Performers like Ash Ra Tempel, Tangerine Dream, Klaus Schulze, and Popol Vuh helped to promote postnational notions of New Age cosmic identity, which involved the consumption of psychedelic drugs and the invention of new sounds, in particular through the employment of the synthesizer.
Meanwhile, krautrock was picked up by post-rock, hip-hop, and electronica artists. Most striking was the renewed interest in West German music from the s among American indie rock communities. The popular music webzine Pitchfork Media exemplifies the rearticulation and reappropriation of German transnational identity by writers and fans culturally removed from its origins. Asked about influential krautrock bands, many contemporary critics and fans would agree that three names top the list: Can, Kraftwerk, and Neu!.
As West Germany had lost its political foundation and was looking ahead by embracing consumer culture, Neu! All three bands strove to gain control over their musical production, album art, and tour schedules in order to make art that reflected an unstable national identity. However, there were also significant differences in the way Can, Kraftwerk, and Neu!
Kraftwerk, on the other hand, had their creative peak years from to , after krautrock proper, gradually became an all-electronic outfit, and deliberately emphasized their seemingly distinct German heritage in a semi-ironic fashion. Finally, Neu! In their later work, Neu! At its core an instrumental outfit, the band worked with different singers over the years.
The four key members of Can, with the exception of guitarist Michael Karoli, were no traditional rock musicians. His innovative keyboard technique included rapid-fire karate chops. He reduced his bass playing to simple runs but also edited the music of the band after and even while it was being recorded and added other sounds from radios and tapes to the mix.
Michael Karoli born might have been the most conventional rock musician in the band, but he made his Stratocaster sound like a violin, integrated his solos well into the overall structure, and did not dominate the sound like other rock guitar players. Then they get to a point where they have the chance to destroy everything and develop completely new ideas.
But at this exact point, which is so crucial, almost all groups go back to the theme! That way we can do without a sound engineer. When the album sold well, it was picked up by Liberty Records. Malcolm Mooney had to leave the band shortly after recording Monster Movie because of his mental instability and returned to the United States. We focused more on international music scenes.
The album cover, which depicted one orange and one green silhouette of a man with an oversized brain and a speech bubble or smoke with brain tissue emanating from the mouth, could be interpreted as a drug reference.
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