From Hip Hop to House THE MOTOR CITY DETROIT HAS YOU COVERED! Terrence Parker IN tHE HOUSE THIS Sat 5th Nov


What more can be said about this cat? At Soul Of Sydney, we think Terrence Parker is the DJ’s DJ ! The DJ that Detroit legends like Jeff Mills, DJ Bone, Derrick May & Juan Attkin would go to see. Coming to Australia for the first time, Terrence brings skills that very few dj’s possess, and an ability to rock a dance floor no matter what style of music he plays.

Check TP in action dropping some Hip Hop in Japan.

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And the DEMF clip!

Catch him playing this Saturday at Civic Hotel

FB link for tickets and Info

Terrence Parker Classic Disco Mix Show # 105

http://terrenceparker.podomatic.com/entry/2010-11-19T13_42_24-08_00

TRACK LISTING

1. Midnight Express Show Band – “Let Us Take You For A Ride” – Promo
2. First Choice – “The Player” – Philly Groove Records
3. Incredible Bongo Band – “Apache” – Alpha Omega
4. Cheryl Lynn – “Got To Be Real” – Columbia
5. Yaz – “Situation” – Sire
6. Goucho – “Dance Forever” – System Music
7. Pure Gold – “Into The Night” – Z
8. Quincy Jones – “Stuff Like That” – A&M
9. Tom Brown – “Fungi Mama” – CBS
10. Cameo – “It’s Serious” – Casablanca
11. Michael Jackson – “Billie Jean” (acapella) – Promo
12. Gino Soccio – “Try It Out” – Atlantic
13. Double Exposure -“Everyman” (Joe Clausell Dub mix) – Salsoul
14. Active Force – “Give Me Your Love” – A&M
15. Al Kent – “Down To Me” – Promo
16. B.T. Express – “Express” – Roadshow
17. Chaka Khan – “Clouds” – Warner Brothers
18. Visual – “Somehow, Someway” – Prelude
19. New York Community Choir – “Express Yourself” – RCA
20. First Choice – “Let No Man Put Asunder” – Salsoul
21. Reel People featuring Tony Momrelle – “Love Is Where You Are” (Reel People Club Mix) – Papa
22. Gary’s Gang – “Let’s Lovedance Tonight” – Columbia
23. My Mine – “Hypnotic Tango” – Blow Up
website: http://www.terrenceparkermusic.com
facebook: http://www.facebook.com/OfficialTerrenceParkerMusic
twitter: http://www.twitter.com/terrenceparker
myspace: http://www.myspace.com/terrenceparker
blog: http://www.terrenceparker.blogspot.com

Catch TP dropping the classic Disco LOVE next Saturday5th Oct @ Civic Hotel

AUSTRALIAN DEEP TRIBAL HOUSE & ELECTRONICA: Alphatown Live Podcast


I was introduced to Alphatown collective many years back when the duo was warming up for Derrick May‘s & Biz-E on a Wednesday night at Gas Nightclub. From memory their set that night was very drum machine driven dance floor orientated techno. There sound in the studio and live shows have really emerged to incorporate the deeper & melodic shades of electronic music over the years & it inspirational to see quality music getting played and made so close to home.

Check out this Deep Tribal Inspired House & Techno set.

It was Friday the 13th and Mercury, Venus, Mars and Jupiter were in alignment. In keeping with the general ‘vibe’ we combined some Vorheesian tones with a cameo appearance from Caleban, an extra-dimensional being who recently made our acquaintance. Enjoy!

MORE AT SOUNDCLOUD

GOSPEL, DEEP-HOUSE, DISCO: TERRENCE PARKER (Parker Music Works/Detroit) Sat 24th Oct Presented by Our House, Supported by Phil Toke


Detroit Techno House live in Sydney ! Terrence Parker

TERRENCE PARKER
Detroit has been credited as one of the Soul Music capitals of the world, spawning legendary artists like The Four Tops, Marvin Gaye and Diana Ross just to name a few. In the mid 1980s, Detroit’s Underground Music Movement has brought rise to artists such as Derrick May, Juan Atkins, Carl Craig, Kevin Saunderson, Blake Baxter, Eddie “Flashin” Fowlkes, UR, Jeff Mills, and a host of others. But unlike the aforesaid names, Terrence Parker has established himself as a producer, remixer and DJ of the classic sound of Detroit House Music, and is known as a pioneer of the Inspirational / Gospel House movement!

As a DJ, Terrence Parker (known to many as “TP”) has become legendary for his quite uncommon yet skillful turntablism style of playing House Music. TP has also become widely admired because he uses an actual telephone handset as headphones; causing some to give him the nick name, “Telephone Man”. Others call him the “Telephone Man” because he has answered the CALL to bring us music to feed our souls!

TP has performed as a DJ in hundreds of cities throughout the world. These events range from night clubs (large and small) to music festivals with more that 100,000 people. Since 1988, TP has released more than 100 recordings on various labels, and has had top 20 hits with his songs “Love’s Got Me High”, “The Question” and albums like “Detroit After Dark” in the U.K., The Netherlands, Germany, and France.

Terrence’s high quality of music productions, remixes, and DJ skill has been recognized by organizations such as the Detroit Historical Museum’s History of Techno International Exhibit, and Indiana State University’s Department Of African American Music And Culture. TP’s collective musical works and pioneering efforts have been recognized as a valuable
contribution to Detroit’s music history, as well as the International History Dance Music.

Terrence is also a well respected remixer. His remix projects include such popular artists as Kelly Rowland, Vickie Winans, Lyfe Jennings, Michelle Williams, Trinitee 5:7, Omarion feat. Bow Wow, Aaron Carl, Tiffany Evans feat Ciara, Wyclef feat Akon, Beyonce & Shakira, Kanye West, Christina Aguilera, Shaun Escoffery, Ce Ce Winans, Dr. Charles Hayes & The Cosmopolitan Church Of Prayer Choir, Amerie, Chris Brown, Anointed Pace Sisters, Upper Street, and many more.

Terrence has also been busy working on his own projects with artists like Coco Street which are featured on TP’s digital music label called Parker Music Works! In addition to TP’s first label venture known as Intangible Records, TP’s music has also been released on labels such as Studio K7 (Germany), Network/Six6 (UK), KMS (USA), Simply Soul (USA), Deconstruction (UK), Superb Ent. (Japan), as well as major labels Universal, EMI, Virgin, and Sony/BMG.

Local supports include Phil Toke, Phil Hudson, Eadie Ramia and Michael Zac

Limited $20 presale tickets are available from www.ourhousesydney.com. or $25 on the door. Strictly limited capacity so get in quick.

This party is proudly supported by http://sydneyunderground.org/

Related articles

CLASSIC DISCO,ELECTRONICA: Donna Summer – I Feel Love (12″ Version Extended Original)


David Bowie wandered into the studio when Donna Summer was recording this song. He turned to the producer and said “this is going to change the face of music” and he was right. One music icon recognized the genius of another! Donna summer wrote this song and it can still be pointed to as the song that started an entire dance movement that is still in effect today. Pure genius and inspiration!

HAHA Presents: Juan Atkins Live in Sydney (Sat Nov 27)


http://profile.ak.fbcdn.net/hprofile-ak-snc4/hs1319.snc4/161900_118245171568847_1039717_n.jpgIs in town for one night only.

A legend who is widely credited with inventing Techno Music as we know it today is playing an upcoming show in Sydney.

In anticipation for this upcoming event, We leave you with one of many Juan Atkins classics.

Catch Magic Juan play

in this Sat 24 @ Marricville Bowling club,

With Vince Watson + Dean Dixon & Dave Fernandes (HAHA Industries)

Click for More Gig Info

Peace

Wassim G

 

That's what she said!


[tweetmeme source=”soulofsydney” only_single=false]

Sloppy Seconds is…

A re-edit label (Sloppy Seconds – get it?).  You can find me digitally on Juno for now.  I do have plans to press up vinyl sometime in the near future.  The material that I plan on using for the vinyl releases will be titles exclusive to the wax catalog (I have a secret stash saved specifically for this purpose).  I’ll let you all know when that happens.

A music resource website.  I’ve been collecting vinyl since the early/mid 80s and have amassed quite an amount of relatively obscure stuff and started the blog as a way to promote lesser known artists and their releases.  Because of the controversy surrounding mp3s I had originally intended to only post titles that are out of print, but I also realized that there are tons of new releases that are equally as amazing that weren’t being promoted very well.  The music selection there varies greatly and includes just about anything that moves me and/or  makes me laugh.  Here’s the addy.  Make yourselves at home.  Beer is in the fridge.

http://kennyconga.blogspot.com/

(For the record, I have received numerous emails stating that purchases of posted material were made due to promotion of said titles from the blog.)

And a DJ.  I’ve been DJing for quite some time now.  Most of you have never heard of me, which might have something to do with the severe lack of self promotion over the years – I never liked that part of the job, but I’ve come to the conclusion that the self promotion game needed to be stepped up if I wanted to continue to do this.

(Sloppy Seconds promo #4)

In order to make this post as short as possible the track listing will be available in the comments section.

Other places known to have Sloppy Seconds sightings aka where to contact me-

Facebook

Soundcloud

[tweetmeme source=”soulofsydney” only_single=false]

———————————————————————-

Connect With Soul Of Sydney

That’s what she said!


[tweetmeme source=”soulofsydney” only_single=false]

Sloppy Seconds is…

A re-edit label (Sloppy Seconds – get it?).  You can find me digitally on Juno for now.  I do have plans to press up vinyl sometime in the near future.  The material that I plan on using for the vinyl releases will be titles exclusive to the wax catalog (I have a secret stash saved specifically for this purpose).  I’ll let you all know when that happens.

A music resource website.  I’ve been collecting vinyl since the early/mid 80s and have amassed quite an amount of relatively obscure stuff and started the blog as a way to promote lesser known artists and their releases.  Because of the controversy surrounding mp3s I had originally intended to only post titles that are out of print, but I also realized that there are tons of new releases that are equally as amazing that weren’t being promoted very well.  The music selection there varies greatly and includes just about anything that moves me and/or  makes me laugh.  Here’s the addy.  Make yourselves at home.  Beer is in the fridge.

http://kennyconga.blogspot.com/

(For the record, I have received numerous emails stating that purchases of posted material were made due to promotion of said titles from the blog.)

And a DJ.  I’ve been DJing for quite some time now.  Most of you have never heard of me, which might have something to do with the severe lack of self promotion over the years – I never liked that part of the job, but I’ve come to the conclusion that the self promotion game needed to be stepped up if I wanted to continue to do this.

(Sloppy Seconds promo #4)

In order to make this post as short as possible the track listing will be available in the comments section.

Other places known to have Sloppy Seconds sightings aka where to contact me-

Facebook

Soundcloud

[tweetmeme source=”soulofsydney” only_single=false]

———————————————————————-

Connect With Soul Of Sydney

Co-op Presents: Sasse (Moodmusic/Germany) 5Hr Set @ Civic Underground (Sat 6th Feb) + Mix (Sasse @ YouFM Clubnight)


CO-OP Presents: Sasse (Freestyle Man, Moodmusic Germany)

Playing a 5 Hour Set Feb 6 Supported by:  CO-OP DJ’s

Tickets: On Sale at Resident Advisor, Continue reading

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.”