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:

Track of the Day: Seven Grand Housing Authority – Loves Got Me High (Terrence Parker live in Sydney Sat Oct 4th @ Civic Hotel)


Thomas paine's photo montage of Detroit pics a...

Deep Soulful HOUSE music bliss from way back in 1996 by Detroit Legend Terrence Parker  who is in town next weekend playing an extended set at Manhattan Lounge Sydney CBD.

Be sure to check out the gig Saturday 24th Sept presented
More details: Facebook 



		

ACID TECHNO CHICAGO HOUSE: HAHA Industries UTR#13 Warehouse Party feat. D&D (HAHA) + African drum set by Malik + HAHA Industries Podcast.


See you on the floor for this one kids… a night of classic techno, acid house and afro inspired electronica thanks to Sydney Warehouse rockinig HAHA

HAHA’s own D&D (Dean Dixon & Dave Fernandes) all night birthday Dj set
African drum set by Malik Senegal

Live illustrations by Paul Abstruse;
http://www.paulabstruse.daportfolio.com/gallery/57920

BYO / 10PM

Tickets $20 – on sale now;
http://www.hahaindustries.com/welcome/?page_id=514

It is time to not only celebrate the safe return of all our fine troops but also to raise our glasses in honour of one of our militia’s top commanders. On this night we would like to help commemorate yet another year on this fine wonderful planet for none other than Lieutenant Fernandes.

To help celebrate, our new allies, the ZULU WARRIORS have been asked to perform a unique and empowering number of their warrior chant dance numbers live in the flesh with nothing else to derive the sounds but their hand made drums and their voices to energetically get us all up on our feet wailing the night away!

WE ASSURE YOU… these warriors will set your feet on fire!

And to help us maintain the velocity of our feet on the night, our Reception Marshals have asked Lieutenant Dave Fernandes himself as well as Lieutenant Dean Dixon to take to manning the wheels of our tanks, to spin the dials of our operating systems and to pull the triggers of our anti-aircraft guns to help us light up the night in fine fashion and with an artistry of noises to have each and every single one of you beating your chests, pounding those terrifying thoughts of battle out, and reaching for that starry night sky!

OUR HOUSE Sydney presents: TERRENCE PARKER (Parker Music Works/Detroit) Sat 5th Oct (UPDATED)


Detroit Techno House live in Sydney ! Terrence Parker

HOUSE MUSIC ROYALTY is in the building.Detroit’s house music legend TP is coming to Sydney on Sat 24th Sept presented by OUR HOUSE MOVEMENT. He will be paying particular tribute to the FUNK, GOSPEL & DISCO roots that fashioned the HOUSE sounds he plays/produces today.

Check out this video from DEMF a couple of years back for HYPE!

More details: Facebook  or at ourhousesydney.com

Our House Sydney is proud to present one of House music’s most gifted dj’s, Terrence Parker. Growing up with Detroit legends such as Derrick May, Juan Atkins, Carl Craig and Kevin Saunderson, Terrence has established himself as a producer, remixer and DJ of the classic sound of Detroit House Music, and he is known as a pioneer of the Inspirational / Gospel House movement!

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/

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

Our House Sydney presents ALTON MILLER (DETROIT, USA) Sunday April 24th


Our House Sydney returns on Sunday Easter long weekend with one of the true pioneers of House music, ALTON MILLER (DETROIT, USA). Visiting Australia for the first time in over 10 years, the man from the motor city will celebrate the 20th anniversary of Detroit’s legendary club ‘The Music Institute’ which he co-founded with George Baker and Chez Damier. http://vanguardsound.com/id25.html

Alton’s trip downunder also coincides with the release of his latest album, ‘Light Years Away’ which has been critically acclaimed by the likes of Osunlade, Atjazz, and Boddhi Satva. http://mixedsignals.ca/#/-in-the-house-canada

Our underground sanctuary to celebrate this special occasion will be The Manhattan Lounge, 58 Elizabeth St Sydney and will be powered by the warmth of our Turbo Sound PA system.

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

Limited $20 pre sale tickets are available from www.ourhousesydney.com. Strictly limited capacity so get in quick.

A recent mix of Alton’s —–>

Alton Miller Cluberia Podcast

Alton Miller live@ Staple San Fran 01/15/00 160 min

Alton Miller Movement Detorit Mix from Deep House Pages

http://www.deephousepage.com/images/gifs/mp3_sm_1.gif

A preview of his critically acclaimed latest Album ‘In Light Years’

ALTON MILLER
Growing up in the 1970s, Miller soaked up the musical environment surrounding him in the Motor City, taking a particular interest in the sounds of Motown, Philadelphia, Parliament-Funkadelic, and Santana. It was during the early ’80s once the “dance music crazed” Alton became friends with a young Derrick May that he decided to start spinning records, citing Chicago DJs such as Ron Hardy and Frankie Knuckles as prime influences. By the latter part of the same decade, Miller joined forces with George Baker and Chez Damier to start the Music Institute, a short-lived but legendary Detroit club that has since become near-mythical, thanks to the pioneering techno efforts of figures such as May. Following the demise of The Music Institute, Miller took an interest in Conga drumming in addition to DJing, which led to a period between 1989 and 1991 where he toured the world with his music. He then joined forces once again with May, first as an employee of the artist’s Transmat Records label, then as Aphrodisiac, the title under which he would begin releasing his music. Besides his EP on Transmat’s sublabel Fragile, he also released his music on Kevin Saunderson‘s KMS and a series of EPs on Serious Grooves. By the mid to late ’90s, he had increased his presence in the Detroit area through a number of DJ performances and a stream of stunning twelves. His latest album ‘Light Years Away’ had been critically acclamied by the likes of Osunlade, Atjazz and Boddhi Satva

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

 

Track Of The Weekend#4: Inner City – Good Life @ RESPECT Warehouse Party Sat 20th Mar 2010


Played at the ‘RESPECT’ warehouse party @ 4am

Year: 1988

Style: Acid House

Mixed By – Magic Juan (Juan Atkins)

ProducerKevin Saunderson
VocalsParis*

Download Here

—————————————————————–


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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.”