EARLY RAVE, DEEP HOUSE, TECHNO: 808 State – Pacific 303 (RARE 303 RELEASE)


Roland TR-808 Rhythm ComposerWhen it comes to earthy electronic music.. does it get finer than this by British electronic outfit 808 State.. really digging this 303 version of their signature tune Pacific.

A ‘Summer of Love’ warehouse classic originally released way back in 1989 & still as Deep and Soulful as electronic music will get, an absolute masterpiece of electronic music for mine.

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POETRY, DEEP HOUSE: Roland Clark – I Get Deep Live At Shelter NYC


Deep (mixed martial arts)

Image via Wikipedia

Roland Clark’s “night at the Shelter”

Roland Clark – I Get Deep (Shelter Mix)

THE BEIRUT GROOVE COLLECTIVE presents: Black Christmas ‘James Brown Tribute’ Feat James Locksmith (JembeMusic)


Its official, REAL MUSIC IS UNIVERSAL!

Our good mate James Locksmith of JembeMusic put me on to this dope event on this weekend in Beirut where a posse of SOUL, FUNK & Rare Groove fans are throwing it down in homage to the musical legacy of James Brown at the annualBlack Christmas‘.

THE BEIRUT GROOVE COLLECTIVE presents ‘THE BLACK CHRISTMAS’ (THIRD EDITION)

(In Memory of the Fifth Anniversary of JAMES BROWN’s Death)

For the third X-mas in a row THE BEIRUT GROOVE COLLECTIVE keeps the tradition of funk, soul, rare groove and breaks in this city and the Middle East, alive. However this time we are getting closer to the heart of the action by taking over the former infamous CLUB SOCIAL where three of THE BGC DJs used to spin regularly (DJ Stickfiggr, Ernesto and Ramsay Short).
This time THE BEIRUT GROOVE COLLECTIVE commemorate the fifth anniversary of James Brown’s death, with long list of DJs, artists and visual artists. To top it all off, this year Supreme Sandwiches and Samosas will be on sale from Firas Yatbokh!

  • Natalie “Baby” Shooter (Opening act)
  • Brother Jackson ( afro-funk/hip-hop) + Heavy G (Hard funk)
  • Chris Bail (dance music)
  • DJ Spindle aka Ernesto ( rare groove,deep funk, breaks)
  • James Locksmith (nu-disco, afrobeat)
  • DJ Wah ( Italo-Disco)

Visuals by Nadim Saoma

“In Memory of James Brown” an art project by Tom Bone,Jeanne Fouchet, Semaan Khawam, Lilly in the rain aka Nanou, Ernesto and short fuse.

Shortfuse Film will be releasing their music video for BGC collaborator Wriggly Scott aka DJ Solo’s new single entitled “Hierarchy/Anachy”.

BGC Links:

ELECTRO FUNK: Kraftwerk – Tour De France (1983 Red Label Full Version)


Not much needs to be said about Kraftwerk really as im pretty sure everyone who knows anything about music will know exactly what electronic music today owes Kraftwerk. I doubt there is a BBoy in the world who wont get amped hearing this on a floor or a record enthusiast that wouldn’t have this in their collection.

Kraftwerk, along with Giorgio Moroder, Jean Michel Jarre and a few others were THE GODFATHERS OF ELECTRONIC MUSIC!

Download Original

Along with being one of the releases that shaped electronic music, Tour also has its small spot in clubbing/rave history here in Sydney too. I have heard from a few people over the years about watching in awe as local DJ Stephen Allkins (Love Tattoo), regularly sample & played this back & forth with Salt & Peppers Push It at Sydneys infamous R.A.T parties at the Horden in the late 1980’s.

Check this info on RAT parties in Sydney from Powerhouse museum online;

During the 1980s in Sydney’s inner-east, a series of more than 35 parties organised by the Recreational Arts Team (RAT) formed a key element of an emerging subculture. The core of the self-styled Recreational Arts Team was Jac Vidgen, Billy Yip and Reno Dal. Vidgen, an energetic party-thrower who had come to Sydney from Brisbane, became the de facto promoter and organiser of these so-called RAT parties. Yip was an artist with a wildly creative imagination who developed well co-ordinated themes and design concepts for the parties. His striking graphic concepts were applied to posters, fliers, badges and banners. Reno Dal was the team’s original technical designer and producer, who started the events with Vidgen and Yip in 1983 and remained involved until 1986. Mark Taylor was the technical producer for the peak period 1986-1990, while Wayne Gait-Smith was technical designer.Vidgen threw his first public party for 200 guests at a rat-infested house on Cleveland St on 2 October 1983, because his own private parties had become too large and expensive. He had no idea he was setting in train a phenomenon that led to a multitude of dance parties every year. Each party had a special name, usually conceived by Billy Yip, incorporating the word ‘rat’ in its title. The first official RAT party, titled ‘Ratsurrect’ and advertised through word-of-mouth, was held at the Bondi Pavilion on Easter Sunday, 22 April 1984. The early parties, particularly ‘Ratizm’ at the Paddington Town Hall (April 1985), created a buzz, attracting an inner-city party-going crowd that included heterosexual bohemians as well as gay men and drag queens. RAT parties typically had audio-visual presentations, bizarre props, party drugs, innovative lighting, underground cabaret groups, the best DJs in town and unusual live performances by people like Martin Harsono and Simon Reptile, who performed at most of these events.

What began as a creative exercise became a business. In 1987 Vidgen registered Recreational Arts Team Pty Ltd as a company. The events became larger, and were no longer exclusive eastern suburbs affairs where it was necessary to know the right people to obtain a ticket. The parties became famous for their spectacular entertainment and celebrity guests. ‘A Ratty New Year’, held on New Year’s Eve 1988 and featuring a 4am live performance by Grace Jones, was so popular that it filled both the Hordern Pavilion and the Royal Hall of Industries. The audiences ranged from 200 to 14,000 guests, with budgets from $5,000 to $400,000. However Vidgen’s motivation was not financial gain. Business was risky, profits were slim, and money made on one party was frequently lost on the next one. Vidgen described himself as ‘an event producer committed to celebration’ (Sydney Morning Herald 13/9/89).

RAT parties provided a venue for a circle of creative people to express themselves on a larger scale than had previously been available, providing a stepping stone for some to move to other levels of expression. Billy Yip is now a painter of fine art. Tobin Saunders, who is now better known as Vanessa Wagner, used to help on the decor team and performed at many of the parties with his dance group. Other contributors were the visual artist Anthony Babicci, the entertainer Ignatius Jones, and Tim Gruchy, who was responsible for much of the video production and recording at the events, particularly in the later years. The parties were vividly documented in photographs by William Yang.

The RAT parties were forerunners of the dance parties and raves of the 1990s. In the early 1980s pub rock was still the mainstream, and dance music was an underground phenomenon. Any music that utilised electronic instruments other than guitars was regarded as weird or avant-garde. RAT party enthusiasts eschewed rock, preferring recorded electronic music and dance music provided by pioneering DJs like Tim Ritchie, Robert Racic and Pee Wee Ferris.

Spearheaded by these DJs, Australian dance music took off in the 1980s. Ignored by major record labels, the dance movement followed the same path as the punk ethic: do-it-yourself. Following Vidgen’s lead, competing independent promoters booked nights at tired old venues like the Hordern Pavilion and transformed them into vibrant, packed palaces. Sydney’s gay community, in particular, took to dance parties. As well as RAT parties, the Mardi Gras, Sweatbox and Bacchanalia are now spoken of as some of the best parties held, featuring DJ sets from the likes of Ritchie, Racic, Ferris, Stephen Allkins and Paul Holden. The buzz of these parties spread to the UK with that country’s top DJs keen to take part. Warehouses emerged, some becoming the foundation of local rave culture. By the end of the 1980s parties flourished all around the country, with promoters booking a constant flow of influential overseas DJs such as Paul Oakenfold. While established rock venues suffered from lack of attendance, dance parties were frequently sold out.

The RAT parties altered Sydney’s night life, starting a craze for giant dance parties that lasted in to the 1990s. They provided a diverse range of entertainment based on visual and aural stimulation, provided a creative outlet for talented people and set the tone and style of Australian dance music culture.

Read more: http://www.powerhousemuseum.com/collection/database/?irn=319666#ixzz1PGnVkBul
Under Creative Commons License: Attribution Non-Commercial

 

NY Times: 'The Heritage of Kraftwerk on Funk & Techno, Dec 4 09


By MIKE RUBIN
Published: December 4, 2009

IT was at a party in 1970 that Ralf Hütter first glimpsed the potential power of the Man Machine. Kraftwerk, the avant-garde musical group he had founded that year with Florian Schneider in Düsseldorf, Germany, was playing a concert at the opening of an art gallery, a typical gig at the time. Trying to channel the energy of the Detroit bands it admired, like the Stooges and MC5, the duo had augmented its usual arsenal of Mr. Schneider’s flute and Mr. Hütter’s electric organ with a tape recorder and a little drum machine, and they were whipping the crowd into a frenzy with loops of feedback and a flurry of synthetic beats.

As the show climaxed, Mr. Hütter recalled: “I pressed some keys down on my keyboard, putting some weight down on the keys, and we left the stage. The audience at the party was so wild, they kept dancing to the machine.”

Thus began a careerlong obsession with the fusion of man and technology. It would take four more years (and three largely instrumental records of electro-acoustic improvisation) before Kraftwerk heralded the coming of electronic pop on its landmark 1974 album “Autobahn,” and another four years before the members proclaimed themselves automatons on “The Robots,” the band’s de facto theme song from 1978’s “The Man-Machine” album. But even in 1970 the hum of what Mr. Hütter calls electrodynamics was buzzing in his veins.

“This rhythm, industrial rhythm, that’s what inspires me,” Mr. Hütter, 63, said. “It’s in the nature of the machines. Machines are funky.”

Few bands have done more to promote that once incongruous concept than Kraftwerk. Though its image shifted over the years from conservatory longhairs to Weimar-era dandies to stylized mannequin machines, it consistently provided a blueprint for the circuitry of modern pop music. David Bowie, an early adapter, channeled the band’s chilly vibes for his late ’70s “Berlin Trilogy,” and in the early 1980s synth pop groups like Human League and Depeche Mode followed suit.

Kraftwerk also became the unlikely godfather of American hip-hop and black electronic dance music, inspiring pioneers in the South Bronx and Detroit. Today Kraftwerk’s resonance can be heard in works as varied as Radiohead and the Auto-Tuned hip-hop of Kanye West and T-Pain.

“Kraftwerk were a huge influence on the early hip-hop scene, and they basically invented electro, which has had a huge influence on contemporary R&B and pop,” the techno artist Moby said. “Kraftwerk are to contemporary electronic music what the Beatles and the Rolling Stones are to contemporary rock music.”

Yet 35 years after “Autobahn” Kraftwerk remains relatively anonymous, thanks largely to a carefully crafted cloak of secrecy, one that an hourlong phone conversation last month with Mr. Hütter from Kraftwerk’s Kling Klang Studio outside Düsseldorf failed to penetrate significantly. On topics ranging from the band’s creative hibernation of the last quarter-century (only two albums of new material since 1981’s “Computer World”) to Mr. Schneider’s departure from the group late last year, Mr. Hütter was pleasant but revealed little. “It’s important for me that the music speak for itself,” he said.

This month the music should do just that with the release of “The Catalogue” (Astralwerks/EMI), a boxed set of newly remastered versions of the band’s last eight albums, beginning with “Autobahn” and including all of the records with the so-called classic Kraftwerk lineup: Mr. Hütter, Mr. Schneider and the electronic percussionists Wolfgang Flur and Karl Bartos. (Five of the remastered albums are also available individually.) Like Mr. Hütter’s infrequent interviews, “The Catalogue” doesn’t divulge much that fans don’t already know. There are no liner notes, no unreleased tracks, no digital mini-documentaries, just some additional photos and revised album graphics.

The music, however, is much more generous. The remasters render Kraftwerk’s glistening, icy textures even more shimmering and crystalline, the repetition more entrancing. “Autobahn,” for example, welds a bouncy Beach Boys harmony to the hypnotic 4/4 motorik beat pioneered by the German band Neu! (whose Klaus Dinger and Michael Rother were part of an early Kraftwerk lineup) to create a 22-minute synthesizer symphony evoking a pleasant highway drive. (A three-minute edit of the song reached No. 25 on Billboard’s singles chart in 1975, the group’s only hit in the United States.)

“For the first time, I think the music sounds the way we always heard it and produced it in our Kling Klang Studio,” Mr. Hütter said.

After “Autobahn,” albums like “Radio-Activity” (1976) and “Trans-Europe Express” (1977) further refined the group’s experimental pop sensibility. Borrowing from the German tradition of sprechgesang, or spoken singing, Mr. Hütter’s flat, affectless voice — sometimes treated with a vocoder to further dehumanize it — is an odd match for the band’s lilting music-box melodies. “What I try to do on the synthesizers,” Mr. Hütter said, “is sing with my fingers.”

But for some critics the group’s synthetic songs just didn’t compute. “Fun plus dinky doesn’t make funky no matter who’s dancing to what program,” Robert Christgau wrote of “Computer World” in The Village Voice. “Funk has blood in it.”

Such distinctions didn’t seem to matter to club crowds: New York’s downtown scene embraced the group. François Kevorkian, a D.J. at underground clubs in the late ’70s and early ’80s, would use Kraftwerk to blend tracks by Fela Kuti and Babatunde Olatunji into his sets. “What was really remarkable was that their music was getting played just as much at Paradise Garage as it was getting played at the Mudd Club, and there were very, very few records that had that ability to cross over between all the different scenes,” said Mr. Kevorkian, who would later work with the band on its “Electric Cafe” album. “Kraftwerk was, like, universal.”

Kraftwerk had long been a staple of the D.J. sets of Afrika Bambaataa in the South Bronx, and in 1982 he and the producer Arthur Baker decided to combine the melody from “Trans-Europe Express” (which Mr. Baker had noticed kids playing on boom boxes in a Long Island City, Queens, park) and the rhythm pattern of “Numbers” (which Mr. Baker had seen wow customers at a Brooklyn record store). The result was the pioneering 12-inch single “Planet Rock” by Afrika Bambaataa and the Soulsonic Force.

“I’m trying to remember a record that created that much mayhem on the dance floor when it first came out, and I can’t,” Mr. Kevorkian said of the reaction to “Planet Rock.” Most early hip-hop songs were slow, “from 90 beats per minute to 110,” Mr. Bambaataa said. “We went to 130 beats per minute, and from that came Latin freestyle, Miami bass and all that.”

“All that” encompassed an entirely new genre, electro, which paved an alternate route for hip-hop. It’s hard to imagine the productions of Timbaland or the Neptunes without the innovations of “Planet Rock,” and its repercussions can still be heard the world over, from Bay Area hyphy to Brazilian baile funk.

The roots of techno wind their way back to Düsseldorf too. In Detroit the radio D.J. Charles Johnson — better known as the Electrifying Mojo — built a fervent following on the urban contemporary station WGPR-FM in the late ’70s and early ’80s by ignoring the rigid formatting of other local stations. He had fished a copy of “Autobahn” out of the discard bin at a previous station and soon acquired a copy of “Trans-Europe Express.” “It was the most hypnotic, funkiest, electronic fusion energy I’d ever heard,” Mr. Johnson said. Kraftwerk became a staple of Mojo’s show “The Midnight Funk Association.” When “Computer World” came out, Mr. Johnson played almost every song on the album each night, making a lasting impression on a generation of musicians.

“Before I heard ‘The Robots’ I wasn’t really using sequencers and I was playing everything by hand, so it sounded really organic, really flowing, really loose,” the Detroit D.J. and producer Juan Atkins said. “That really made me research getting into sequencing, to give everything that real tight robotic feel.”

Over the next several years Mr. Atkins, along with his high school friends Derrick May and Kevin Saunderson, would become the pioneers of techno, which Mr. May once famously described as being “like George Clinton and Kraftwerk caught in an elevator with only a sequencer to keep them company.”

Techno would eventually explode internationally in 1988, with raves in London and trance in Goa, India. Back in Detroit, “Computer World” would assume the status of a sacred text. Kraftwerk was “considered like gods,” said Carl Craig, a Detroit techno producer. “Black people could relate to it because it was like James Brown. It was just this kind of relentless groove.” Mad Mike Banks, founder of the Detroit techno collective Underground Resistance, said he considered the song “Numbers,” from “Computer World,” the “secret code of electronic funk.”

“That track hit home in Detroit so hard,” Mr. Banks said. “They had just created the perfect urban music because it was controlled chaos, and that’s exactly what we live in.”

For Kraftwerk it’s a civic connection that has come full circle. In the last decade Mr. Hütter has developed relationships with some Detroit artists he inspired, including Mr. Banks. It seems to be a kind of “brotherhood, like Düsseldorf and Detroit,” Mr. Hütter said, saying he’s fascinated “that this music from two industrial centers of the world, with different cultures and different history, suddenly there’s an inspiration and a flow going back and forth. It’s fantastic.

“All this positive energy, this feedback coming back to me, is charging our battery, and now we’re full of energy. It keeps my Ralf robot going.”

Indeed, compared with Kraftwerk’s near invisibility throughout most of the ’80s and ’90s, the last few years have seen a relative flurry of Kraftwerk activity. Laptops have allowed the group to take its Kling Klang Studio on the road, so it has been touring regularly, adding 3-D graphics to the live show this year. Now that “The Catalogue” is completed, Mr. Hütter has promised a new Kraftwerk album soon, which would mark the band’s first recording without Mr. Schneider. If Mr. Hütter has any reservations about working without his musical partner of four decades, he kept them to himself; perhaps robots are incapable of showing emotion?

“There’s so much to do,” Mr. Hütter said. “I feel like we are just starting.”

NY Times: ‘The Heritage of Kraftwerk on Funk & Techno, Dec 4 09


By MIKE RUBIN
Published: December 4, 2009

IT was at a party in 1970 that Ralf Hütter first glimpsed the potential power of the Man Machine. Kraftwerk, the avant-garde musical group he had founded that year with Florian Schneider in Düsseldorf, Germany, was playing a concert at the opening of an art gallery, a typical gig at the time. Trying to channel the energy of the Detroit bands it admired, like the Stooges and MC5, the duo had augmented its usual arsenal of Mr. Schneider’s flute and Mr. Hütter’s electric organ with a tape recorder and a little drum machine, and they were whipping the crowd into a frenzy with loops of feedback and a flurry of synthetic beats.

As the show climaxed, Mr. Hütter recalled: “I pressed some keys down on my keyboard, putting some weight down on the keys, and we left the stage. The audience at the party was so wild, they kept dancing to the machine.”

Thus began a careerlong obsession with the fusion of man and technology. It would take four more years (and three largely instrumental records of electro-acoustic improvisation) before Kraftwerk heralded the coming of electronic pop on its landmark 1974 album “Autobahn,” and another four years before the members proclaimed themselves automatons on “The Robots,” the band’s de facto theme song from 1978’s “The Man-Machine” album. But even in 1970 the hum of what Mr. Hütter calls electrodynamics was buzzing in his veins.

“This rhythm, industrial rhythm, that’s what inspires me,” Mr. Hütter, 63, said. “It’s in the nature of the machines. Machines are funky.”

Few bands have done more to promote that once incongruous concept than Kraftwerk. Though its image shifted over the years from conservatory longhairs to Weimar-era dandies to stylized mannequin machines, it consistently provided a blueprint for the circuitry of modern pop music. David Bowie, an early adapter, channeled the band’s chilly vibes for his late ’70s “Berlin Trilogy,” and in the early 1980s synth pop groups like Human League and Depeche Mode followed suit.

Kraftwerk also became the unlikely godfather of American hip-hop and black electronic dance music, inspiring pioneers in the South Bronx and Detroit. Today Kraftwerk’s resonance can be heard in works as varied as Radiohead and the Auto-Tuned hip-hop of Kanye West and T-Pain.

“Kraftwerk were a huge influence on the early hip-hop scene, and they basically invented electro, which has had a huge influence on contemporary R&B and pop,” the techno artist Moby said. “Kraftwerk are to contemporary electronic music what the Beatles and the Rolling Stones are to contemporary rock music.”

Yet 35 years after “Autobahn” Kraftwerk remains relatively anonymous, thanks largely to a carefully crafted cloak of secrecy, one that an hourlong phone conversation last month with Mr. Hütter from Kraftwerk’s Kling Klang Studio outside Düsseldorf failed to penetrate significantly. On topics ranging from the band’s creative hibernation of the last quarter-century (only two albums of new material since 1981’s “Computer World”) to Mr. Schneider’s departure from the group late last year, Mr. Hütter was pleasant but revealed little. “It’s important for me that the music speak for itself,” he said.

This month the music should do just that with the release of “The Catalogue” (Astralwerks/EMI), a boxed set of newly remastered versions of the band’s last eight albums, beginning with “Autobahn” and including all of the records with the so-called classic Kraftwerk lineup: Mr. Hütter, Mr. Schneider and the electronic percussionists Wolfgang Flur and Karl Bartos. (Five of the remastered albums are also available individually.) Like Mr. Hütter’s infrequent interviews, “The Catalogue” doesn’t divulge much that fans don’t already know. There are no liner notes, no unreleased tracks, no digital mini-documentaries, just some additional photos and revised album graphics.

The music, however, is much more generous. The remasters render Kraftwerk’s glistening, icy textures even more shimmering and crystalline, the repetition more entrancing. “Autobahn,” for example, welds a bouncy Beach Boys harmony to the hypnotic 4/4 motorik beat pioneered by the German band Neu! (whose Klaus Dinger and Michael Rother were part of an early Kraftwerk lineup) to create a 22-minute synthesizer symphony evoking a pleasant highway drive. (A three-minute edit of the song reached No. 25 on Billboard’s singles chart in 1975, the group’s only hit in the United States.)

“For the first time, I think the music sounds the way we always heard it and produced it in our Kling Klang Studio,” Mr. Hütter said.

After “Autobahn,” albums like “Radio-Activity” (1976) and “Trans-Europe Express” (1977) further refined the group’s experimental pop sensibility. Borrowing from the German tradition of sprechgesang, or spoken singing, Mr. Hütter’s flat, affectless voice — sometimes treated with a vocoder to further dehumanize it — is an odd match for the band’s lilting music-box melodies. “What I try to do on the synthesizers,” Mr. Hütter said, “is sing with my fingers.”

But for some critics the group’s synthetic songs just didn’t compute. “Fun plus dinky doesn’t make funky no matter who’s dancing to what program,” Robert Christgau wrote of “Computer World” in The Village Voice. “Funk has blood in it.”

Such distinctions didn’t seem to matter to club crowds: New York’s downtown scene embraced the group. François Kevorkian, a D.J. at underground clubs in the late ’70s and early ’80s, would use Kraftwerk to blend tracks by Fela Kuti and Babatunde Olatunji into his sets. “What was really remarkable was that their music was getting played just as much at Paradise Garage as it was getting played at the Mudd Club, and there were very, very few records that had that ability to cross over between all the different scenes,” said Mr. Kevorkian, who would later work with the band on its “Electric Cafe” album. “Kraftwerk was, like, universal.”

Kraftwerk had long been a staple of the D.J. sets of Afrika Bambaataa in the South Bronx, and in 1982 he and the producer Arthur Baker decided to combine the melody from “Trans-Europe Express” (which Mr. Baker had noticed kids playing on boom boxes in a Long Island City, Queens, park) and the rhythm pattern of “Numbers” (which Mr. Baker had seen wow customers at a Brooklyn record store). The result was the pioneering 12-inch single “Planet Rock” by Afrika Bambaataa and the Soulsonic Force.

“I’m trying to remember a record that created that much mayhem on the dance floor when it first came out, and I can’t,” Mr. Kevorkian said of the reaction to “Planet Rock.” Most early hip-hop songs were slow, “from 90 beats per minute to 110,” Mr. Bambaataa said. “We went to 130 beats per minute, and from that came Latin freestyle, Miami bass and all that.”

“All that” encompassed an entirely new genre, electro, which paved an alternate route for hip-hop. It’s hard to imagine the productions of Timbaland or the Neptunes without the innovations of “Planet Rock,” and its repercussions can still be heard the world over, from Bay Area hyphy to Brazilian baile funk.

The roots of techno wind their way back to Düsseldorf too. In Detroit the radio D.J. Charles Johnson — better known as the Electrifying Mojo — built a fervent following on the urban contemporary station WGPR-FM in the late ’70s and early ’80s by ignoring the rigid formatting of other local stations. He had fished a copy of “Autobahn” out of the discard bin at a previous station and soon acquired a copy of “Trans-Europe Express.” “It was the most hypnotic, funkiest, electronic fusion energy I’d ever heard,” Mr. Johnson said. Kraftwerk became a staple of Mojo’s show “The Midnight Funk Association.” When “Computer World” came out, Mr. Johnson played almost every song on the album each night, making a lasting impression on a generation of musicians.

“Before I heard ‘The Robots’ I wasn’t really using sequencers and I was playing everything by hand, so it sounded really organic, really flowing, really loose,” the Detroit D.J. and producer Juan Atkins said. “That really made me research getting into sequencing, to give everything that real tight robotic feel.”

Over the next several years Mr. Atkins, along with his high school friends Derrick May and Kevin Saunderson, would become the pioneers of techno, which Mr. May once famously described as being “like George Clinton and Kraftwerk caught in an elevator with only a sequencer to keep them company.”

Techno would eventually explode internationally in 1988, with raves in London and trance in Goa, India. Back in Detroit, “Computer World” would assume the status of a sacred text. Kraftwerk was “considered like gods,” said Carl Craig, a Detroit techno producer. “Black people could relate to it because it was like James Brown. It was just this kind of relentless groove.” Mad Mike Banks, founder of the Detroit techno collective Underground Resistance, said he considered the song “Numbers,” from “Computer World,” the “secret code of electronic funk.”

“That track hit home in Detroit so hard,” Mr. Banks said. “They had just created the perfect urban music because it was controlled chaos, and that’s exactly what we live in.”

For Kraftwerk it’s a civic connection that has come full circle. In the last decade Mr. Hütter has developed relationships with some Detroit artists he inspired, including Mr. Banks. It seems to be a kind of “brotherhood, like Düsseldorf and Detroit,” Mr. Hütter said, saying he’s fascinated “that this music from two industrial centers of the world, with different cultures and different history, suddenly there’s an inspiration and a flow going back and forth. It’s fantastic.

“All this positive energy, this feedback coming back to me, is charging our battery, and now we’re full of energy. It keeps my Ralf robot going.”

Indeed, compared with Kraftwerk’s near invisibility throughout most of the ’80s and ’90s, the last few years have seen a relative flurry of Kraftwerk activity. Laptops have allowed the group to take its Kling Klang Studio on the road, so it has been touring regularly, adding 3-D graphics to the live show this year. Now that “The Catalogue” is completed, Mr. Hütter has promised a new Kraftwerk album soon, which would mark the band’s first recording without Mr. Schneider. If Mr. Hütter has any reservations about working without his musical partner of four decades, he kept them to himself; perhaps robots are incapable of showing emotion?

“There’s so much to do,” Mr. Hütter said. “I feel like we are just starting.”