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Kraftwerk - Kraftwerk 2 - 01-Nov-09 08:44 AM
Comparing 'Kraftwerk 2' to the group's self-titled debut, it discreetly shows a tiny drift towards the synthetic pattern many are more comfortable with. The opening number 'Klingklang' (a term which would later serve as their fifth 'accompaniment' in the wake of a recording studio), creates this beautiful repetitive sequence, singlehandedly informing the two of their crucial albums released by mid-seventies - 'Ralf und Florian' and most notably, 'Autobahn'.

However, it still remains a research rather than a seriously conceived, brushed album - 'Klingklang' itself being sort of 'multi-suite' clocked in well over 16 minutes, occasionally twisting in and out of regular rhythm speed which might either confuse or irritate the listener (especially if experienced on a standard long player).

'Atom' introduces with scary breathing processed heavily into the mix - simple, a bit formless, but still intriguing aural experience for the most patient. 'Strom' is the perfect example how Kraftwerk don't get intimidated by the avant-garde extremes - here the unusual electric guitar wall of sound is delivered, from a childishly naive doodling to Fleetwood Mac-like dreamscape. Here it is quite notable that Kraftwerk try out ideas, delivered by their then-former bandmates Klaus Dinger and Michael Rother on their own debut album as Neu!

'Spule 4' adds a flirt with the exotic, a bit nightmarish LSD-trip; still there is too much silence interrupted with intrumental fillers that albeit growing towards the end of the piece, get nowhere particular. Same goes for 'Wellenlaenge' - a bit of a tease more than something we would like to get back to, even though this particular piece provides a nice sketch to early morning atmosphere.

'Harmonika' on the other hand delivers a beautiful 'chamber music' effect - it sounds more like a harmonium from what is suggested by the title. If only it was a bit more processed through a tiny sound effect (let's say reverb or space echo)... still it is one of the album's truly fine and ear pleasing moments.

In all, 'Kraftwerk 2' seems lost between progress and noisy still lives. While the ideas, Ralf and Florian (along with Conny Plank) applying here, somehow extend this early minimalist approach of theirs - apart from a die-hard fan, to someone as curious to discover it, 'Kraftwerk 2' still offers little actual merit of things to come. Recommended and respectable on its own terms, but just as confused a document.

While it stands the test of time, like the debut, it also suffers for its overspreading art (genius).

Kraftwerk - Kraftwerk - 01-Nov-09 03:54 AM
I guess, if I ever heard this album at the same time when devouring 'The Man-Machine', 'Computer-World' and 'Electric Cafe' (which remain the crucial introduction points to me), it would have been a disappointment just the same.

'Kraftwerk', despite the group exploring the technological side even then, is a rudimentary study - a bizarre prototype blending soothing ambient with abrasive sound.

The focal duo of Schneider and Hutter along with their first line-up of fellow musicians here, are just starting to make their 'all electronic' point, in both - sound and vision. The plastic cone is an interesting choice to make that point, but now as we know it - it took two more albums to define the research, before the world would recognise the group's unusual, disciplined concept.

Today, 'Kraftwerk' is still amazingly relevant (if not vague), bordering all that Industrial harshness ('Vom Himmel Hoch' and 'Megaherz' are masterpiece examples of this) and delivering emotional depth kickstarting Kraftwerk's obsession to reconcile man, nature and technology.

Kajagoogoo - White Feathers - 16-Sep-09 11:10 AM
Kajagoogoo, whether by name or their over the top image, is probably one of the reasons why most people dislike the Eighties. Well, the irony is - the Eighties needed this kind of decadence to push things forward, or at least push them around for the time being. It seemed all you ever needed is a ridiculous haircut to go along Top of the Pops and make it big. New Romantics in particular never denied that fact themselves. Some of them aimed for the kitch factor and scored it big - at least for a moment.

Horrific dress codes aside - and Kajagoogoo were a typical boy band of their time - but they seemed to have luckily avoided the bandwagon jump, fitting in with a new wave frame just perfect. The whole of delivery on White Feathers immediately links with their labelmates, and in terms of production also patrons - Duran Duran. Nick Rhodes was after all the main producer here alongside Colin Thurston. While Seven & the Ragged Tiger album provided that group's creative peak, White Feathers silently reflected the light version of Duran Duran with superb keys and irresistable dance rhythms.

Musically, the album is rich and potent with good energy. There isn't much philosophy in it, despite its desperate grasp of such appeal (Ergonomics for instance). It is fun to listen to and rediscover the ghosts of the Eighties new wave confection past with White Feathers - Limahl providing the main blueprint here which served a fine frontman tone to the group. However, inner struggles proved them short lasting, hype rather than talented bunch of musicians which they were.

The title song opener gives the album a good kickstart - it is a typical 1983 groove box. Nice bass slaps and synthesizers subtly informing the track. Too Shy, ironically their best remembered single with one of the most annoying refrains in pop-music history continues a bit slower - the arrangement is great but it is too cheesy the moment things reach the boiling point with the line "Hey Girl - move a little closer".

By the time Lies and Promises reach the ear, we witness a downside to White Feathers. In its instant hit approach this one leans heavily towards catchy rhythm of the opening title track but it is just a filler with little substance and ranks among the weakest examples on the album. Magician Man repairs some of the damage with its discreet exotic brush. The number that closes side one of the LP is simply credited to the group itself. Kajagoogoo is a finely arranged intermezzo.

Side two opens with another, although more memorable, copycat affair. This time its a Too Shy rewrite called Ooh To be Ah (almost like an Abba wordplay with a hint at Dancing Queen). The song arrangement is once again a fine musical achievement in terms of white boy funk, but the refrain burns its sense of perfection. Ergonomics, once again hitting faster on the beat, tries desperately to explain how industry works (all across the land it's made for the hand). Its sincerely naive, funny little tune.

Hang On Now is a deserved hit and is the best song on the whole album (in tone, much closer to lazy jazz pop sound of a certain Everything But the Girl than trendy New Romantics imprint). Where Too Shy and Ooh To Be Ah fail, Hang On Now successfully delivers its fine air of mistique to a standard pop song.

This Car Is Fast ranks along White Feathers as one of the album's finer moments - musically. Frayo is a fine closing number with film noir atmosphere.

In all, the album was a deserved commercial success but this success is also its worst enemy. Kajagoogoo were aspired to a trend despite their playing skills. It's a nasty little bag of tricks that couldn't get away from the bubblegum effect it created just the same. Still it is a fine listen on occasion, most notably birthday parties where guests will feel caught up in their own memory about this band - whether they liked the group or not.

Neworder* - Technique - 13-Sep-09 10:30 AM
Many will find "Technique" the most ideal introduction to the work of New Order with a reason - especially when you were a teenager growing up in the grey world of 1988 and then all of a sudden, "Fine Time" appeared on the telly smashing all of my yesterdays to bits. At first I didn't know what to think of the song itself, but it struck me immediately with its memorable video, synth hooklines at the beginning of the song and those bizarre kind-of Barry White spoken inserts throughout the song.

This was the first time I ever heard of New Order as such, and it was one hell of a fascination... As weird as it may sound, I clearly remember being at school, stating in one of those classmates' memento notebooks (we used to fill these with all kinds of nonsense :)), one of my favourite songs - "New Order - Fine Time". I also remember some people reading my part in the notebook, confusingly asking what kind of a group is that?

After all, back then we were all a typical teenage generation of 1988 - growing up with shitty pop-music of Jason and Kylie, there were Brother Beyond, Bros and Taylor Dayne - so to me, New Order wasn't just a new discovery, it was a reverential kind of experience; it was catchy and pop but it was also dark and subversive.

Even so, I remember this other guy mentioned "Joy Division" for the first time in connection to my tiny mention of New Order... but I didn't care for "Joy Division" at that point. I couldn't care for Joy Division at that point. I was 13 years old and I preferred to have "Fine Time" instead of "Atmosphere".

Everything they delivered previously, helped this album to its most sophisticated sound fusion - a whole that immediately sounded trendy of the time, while at that same time it kept its own timeless quality in years to come.

Despite later efforts that sustain their trademark (Peter Hook's bass, Stephen Morris' drumming and the lethargic singing by Bernard Sumner) - respectful 'Republic' and the stunning comeback of 'Get Ready' ('Waiting For the Siren's Call' sadly isn't my cup of tea), 'Technique' is by far a crucial New Order album they never seem to overcome by means of quality; a simple yet effective mixture of state-of-the-art technology and standard indie-ish sound, still relevant today as it was in the year of its release (brilliant examples of 'Run', 'All the Way' or 'Dream Attack' on one side and then these brilliant dance-numbers of positively devastating proportions - 'Vanishing Point', 'Round & Round' and of course, 'Fine Time' on the other).

Depends how you feel about any New Order album - to me 'Technique' was the door to another listener's dimension. Nothing spectacular about it, but then again - everything sounds spectacular about it.

Danny & Armi - Danny & Armi - 18-Aug-09 12:57 PM
Don't know about the whole album - and as I'd like to quote Jack Lemon (from 'Some Like It Hot'); I should have my head examined - but the reason I write this review is mainly due to the song 'Love You Tender' that closes the album.

It's not for the horrific effect such schlager material usually provides, it is for the funny aspect of easy rhyme, typically naive romantics and that gross seventies image; Danny & Armi recorded a 'strange swedish music video' for this song and once you see the results, you cannot stop laughing. The dancers' clumsy choreography, tango-esque quasi-seduction and unbelievably kitchy, dated atmosphere - even for a 1978 standard.

But that's the way entertainment goes. Too far and beyond. You should check the video somewhere on the internet. YouTube or otherwise. Worth a see.

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