Kraftwerk ‎– Radio-Aktivität

if this it´s an Electrola-edition too, what´s the difference to the other release from 1975 made in Germany with the same label Number?

'Radio-activity' or 'Radio-aktivitaet', the album is probably most important for placing the group into multilingual territory.

Delivered in German and English, it is also one of the more notorious (at least to some extent) chapters in the group's excellent discography - while 1991's version of the title song delivers warnings regarding exposure, the original album's concept seems at odds befriending such a theme, marking additional reference in exploring the possibilities of radio-friendly music display.

Considering the middle from which it marks its radical cry, 'Radioactivity' is a striking 'album-zero' - its ambience is not an ear-pleasing experience despite the fact many pieces included - 'Radio-activity', 'Radioland', 'Airwaves', 'Antenna' and 'Ohm Sweet Ohm' - are not that much of a stylistic (albeit more sterile) drift from the soothing shades of 'Ralf & Florian' and 'Autobahn' previously.

But considering the time of its release, 'Radio-activity' is 'Panasonic' twenty years too early (a connection between the German foursome and the Finland's frequency extraordinaires is simply undeniable). What makes it so powerful and intimidating, are the tiny snippets of menacing electronic noise - starting with 'Geiger Counter', which in itself is a warning that the album you play is to be handled with extreme caution. Try and play it loud - it is far too risky that some of the sounds might seriously damage the ear ('Radio Stars' in particular).

'Radio-activity' is quite clear in its message regarding the issue, it is as sentimental as it is distant and unclear about the substance. 'Radioland' and 'Airwaves' continue with melodic shifts but altogether, they are not meant to relax - disturbing S.O.S.-like sounds and low frequencies constantly distract from focus. 'Intermission' and 'News' are the most humorous pieces from the set - if not listened to closely, these two particular tracks are actually a medley ('Intermission' already kicks in during 'Airwaves' fade out) and cannot be properly detected from one another, which makes it effectively clear of individual subject's invisibility.

'The Voice of Energy' sounds like a merciless announcement - the generator which comes to life, announcing its possibilities but between the lines not altogether too clear about, as hissing white noise in the background sounds like it's about to burst any second now. In similar fashion comes 'Uranium' (a tiny outro to 'Radio-activity'), projected from within the now-dehumanized environment. 'Transistor' is the most powerful piece of actual music here - drawing its thin line between jazz, classical and folk music, interpreted with actual warmth as opposed to the consequences of radioactive substance abuse. While the melody is ultimately sad and sensual, it is also a frightening scream - paving way to a sudden, kind of 'happy-ending' conclusion in 'Ohm Sweet Ohm'; which starts no less menacing, with a generator's vocal mantra, disappearing into its comforting soundtrack, still optimistic in providing the image of a better future, despite all of radio-activity's negative aspects.

It is funny to me that the first time I ever heard this album, I'd found a CD copy in a budget bin and had taken it to a friends house where we ended up listening to it in his basement while we were riding out a tornado warning. While I wish I could say the music was perfect for it and it was a life-changing moment, I was probably about 14 and didn't appreciate its simplicity. I think I took it out halfway through and put on some Ministry or something. Now, of course...well, it's Radioactivity by Kraftwerk and I'm a phaser slut...and a vocoder slut...and a slut for basically everything on this record.

I have quite hilarious version of this album: the LP is perfectly normal and exactly the same as the ordinary release (incl. run-out grooves) in the original package, but... the labels on the record itself are misprinted from this release: Strong Arm Steady - Can't Let It Go (check it on Discogs here, it's some new-school hip-hop from USA).

At the record shop this release was considered as defected, of course (because cover and labels didn't match), so that's why it was on sale with ridiculously low price, extremely cheap.

I bought it just for fun (because the record was wrapped with a sticker "wrong LP inside!!" on it), like a "blind" buy without even unwrapping it, because I was interested to find out, which record is actually inside. And finally I got the perfect copy of Kraftwerk album for a super-low price. Nice deal!

But I assume this can't be the only one existing misprinted copy. If anyone have the same, please let me know, we can try to trace them (I bought my copy in Russia, Moscow).

Kraftwerks first real Concept Album, released after their international breakthrough with "Autobahn". The Album was not very well recieved by international Audiences, which where waiting for another Hit like Autobahn, and could not handle the concept of this Album. However it was a big success in France.

Moreover, it was the source of one of the biggest misunderstandigs concerning Kraftwerk. They where accused to romantize Radioactivity and Atomic-Power, while in Germany there was a large Anti-Atomic movement. Many people did simply not get the irony in it. And totally ignoring, the concept of the Album who played with nostalia (Radio) and modernism (nuclear power).
In their live appearences in the nineties the song "Radio-Activity" includes a new vocal, to sort out misunderstandings. It says "Stop Radioactivity" now. This misunderstanding might also be one of the reasons for Kraftwerk to take part at the Sellafield concert organized by U2.

The Song "Voice of Energy" introduces for the first the "the digital singer", the typical Kraftwerk robot-voice.

This album (as dark in the inside as it is outside) is the english version of «Radio-Aktivität», which is indeed an excellent reference in the Dark Wave/Experimental genres with its ersatz sounds and melodies and somewhat not-so-subtle vocals. Concerning this release, I am must admit to prefer the instrumental songs, as the english vocals are IMHO a few points below the deutsch ones (but they're still very well adapted). Anyway, «Geiger Counter» and «Radio Stars» are perfect examples of "sounds" that these genius converted into "music", keeping the path of experimentalism wide open for future generations.