{"id":15211,"date":"2010-08-23T00:03:44","date_gmt":"2010-08-22T22:03:44","guid":{"rendered":"http:\/\/www.jensunmack.dk:80\/wordpress-3\/?p=15211"},"modified":"2010-08-23T00:03:44","modified_gmt":"2010-08-22T22:03:44","slug":"david-bowie-og-kraftwerk","status":"publish","type":"post","link":"http:\/\/www.jensunmack.dk\/wordpress-3\/david-bowie-og-kraftwerk\/","title":{"rendered":"Indflydelsen fra Kraftwerk"},"content":{"rendered":"

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My attention had been swung back to Europe with the release of Kraftwerk’s Autobahn in 1974. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further.<\/em><\/strong><\/p>\n

Much has been made of Kraftwerks influence on our Berlin albums. Most of it lazy analyses I believe. Kraftwerks approach to music had in itself little place in my scheme. Theirs was a controlled, robotic, extremely measured series of compositions, almost a parody of minimalism. One had the feeling that Florian and Ralph were completely in charge of their environment, and that their compositions were well prepared and honed before entering the studio. My work tended to expressionist mood pieces, the protagonist (myself) abandoning himself to the ‘zeitgeist’ (a popular word at the time), with little or no control over his life. The music was spontaneous for the most part and created in the studio.<\/em><\/strong><\/p>\n

In substance too, we were poles apart. K.’s percussion sound was produced electronically, rigid in tempo, unmoving. Ours was the mangled treatment of a powerfully emotive drummer, Dennis Davis. The tempo not only ‘moved’ but also was expressed in more than ‘human’ fashion. K. supported that unyielding machinelike beat with all synthetic sound generating sources. We used an R&B band. Since ‘Station To Station’ the hybridization of R&B and electronics had been a goal of mine. Indeed according to a 70’s interview with Brian Eno, this is what had drawn him to working with me..<\/em><\/strong><\/p>\n

One other lazy observation I would like to point up, btw, is the assumption that ‘Station To Station’ was homage to K’s ‘Trans-Europe Express’. In reality ‘S to S’ preceded ‘Trans’ by quite some time, 76 and 77 respectively.<\/em><\/strong><\/p>\n

Btw, the title drives from the Stations of the Cross and not the railway system.<\/em><\/strong><\/p>\n

What I WAS passionate about in relation to K. was their singular determination to stand apart from stereotypical American chord sequences and their wholehearted embrace of a European sensibility displayed through their music. This was their very important influence on me.<\/em><\/strong><\/p>\n<\/blockquote>\n

David Bowie omskriver her den g\u00e6ngse historiebog.<\/p>\n

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My attention had been swung back to Europe with the release of Kraftwerk’s Autobahn in 1974. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further. Much has been made of Kraftwerks influence on our Berlin albums. Most of it lazy analyses I believe. Kraftwerks … L\u00e6s videre Indflydelsen fra Kraftwerk<\/span> →<\/span><\/a><\/p>\n