DEEP HOUSE EVENT: CO-OP’s 3rd Birthday feat. San Soda + Bill Brewster


CO-OP PRESENTS SAN SODA (WE PLAY HOUSE / FCL – BERLIN) & BILL BREWSTER (DJHISTORY.COM – LONDON) AT ONE22 IN SYDNEY ON SATURDAY 19TH MAY FOR CO-OP’S THIRD BIRTHDAY, AS PART OF THEIR DEBUT TOURS OF AUSTRALIA

TICKETS ON SALE NOW FROM RESIDENTADVISOR.NET
http://www.residentadvisor.net/event.aspx?360294

According to commonly accepted knowledge, a three year old should be able to follow basic directions, sort objects by shape and colour, imitate the actions of adults and playmates, and express a wide range of emotions. Ah well, CO-OP’s always been something of a ‘special’ case.

Hard as it may be to believe, given our sluggish development, we are soon to celebrate our third birthday. The last two have seen the CO-Operative get loud and loose in fine style with our good friend Harri, however we’ve never been content to partake in any laurel sitting and so we’re doing things a bit differently to mark the occasion in 2012.

We’ve only engaged in a single headline show in the last twelve months for one reason or another, but it was a good one – Prosumer in late March. Good because of him, you and them (the venue, the staff, the other DJs et al), so we’re hoping that lightning can indeed strike twice as we host the forthcoming CO-OP birthday party at One22 on Saturday 19th May. The place is appropriately sized, appropriately late licensed and appropriately armed with an A-grade Klipsch sound-system, all of which makes it appropriate for another visit from us lot.

And so to the business of the musicism – amongst the aforementioned ‘lot’ will be a pair of international talents, both of whom will be shaking down exclusively for CO-OP in Sydney on their debut tours of Australia…

———————————–
SAN SODA (WE PLAY HOUSE / FCL – BERLIN)
———————————–

First up is a young man hailing from Belgium via Berlin – Nicolas Geysens AKA San Soda. Mainstay of the revered We Play House label and one half of production duo FCL with his friend, recording partner and WPH label owner Red D, San Soda’s DJing and production prowess have been in high demand across Europe and beyond over the last few years. Anyone who’s come across any of his mixes will know he effortlessly blends contemporary deep cuts with crate-dug joints from back-in-the-day to present a forward-thinking history of House that presses all the right buttons. With releases and remixes from his San Soda and FCL projects finding homes on leading labels including Freerange, Dessous, Delusions Of Grandeur and 20:20 Vision (who are soon to release the latter’s album), Mr Geysens is on fire in the booth and studio right now.

———————————–
BILL BREWSTER (DJHISTORY.COM – LONDON)
———————————–

Our second headliner is probably as well known as an author as he is a DJ, having co-scribed a pair of best selling books on the art and form of the disc jockey – Last Night A DJ Saved My Life and How To DJ Properly. Ladies and gentleman, Bill Brewster Esq. Whether he’s removing the roof from a club with his unique selection of deep and devastating ‘Ouse (he was one of Fabric’s first residents don’t you know), enchanting a backroom with a genre-bending set of Disco, Balearic, Rock and Hip Hop or playing perfectly judged chill-out tuneage by a pool in Ibiza, The Brewster is a man for all occasions. Allegedly, what he doesn’t know about DJing isn’t really worth knowing. A bloke of many talents, Bill also runs the highly regarded DJHistory.com website out of the UK, which has become THE go-to online destination for those with definite symptoms of dance music OCD. Likewise, his legendary Low Life parties (now in their 15th year, having started in NYC) continue to deliver substance and spectacle in equal measure every few months in London. Yes, he’s been a label head, yes, he’s produced records, yes, he’s got a family and a dog, but its as a DJ that he continues to inspire and practice what he writes/preaches most regularly and rapturously.

Support on the night will come, in some form, from the CO-OP DJs and possibly a couple of extra guest spinsters, and there may be a pleasant surprise or two still to be revealed for the assembled throng on 19th May if all goes to plan (i.e. we don’t oversleep and can remember our PIN number).

Resident Advisor, unsurprisingly, hold the keys to advance tickets to CO-OP’s third birthday uprising – show them what you’re made of.

Two’s company, three’s a crowd…

CO-OP.


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PRINCE SYDNEY CONCERT: Prince: A Purple Reign (BBC 4 Legends of Black Music Documentary)


Image for Prince: A Purple Reign

Just a bit more Prince Sydney Concert with this 60 Min long BBC 4 Documentary Narrated Trevor Nelson.

A taster o – a documentary film which explores how Prince – showman, artist, enigma – revolutionized the perception of black music in the 1980s with worldwide hits such as 1999, Kiss, Raspberry Beret and Alphabet Street.

He became a global sensation with the release of the Oscar-winning, semi-autobiographical movie Purple Rain in 1984, embarking on an incredible journey of musical self-discovery that continues to this day.

Documentary film which explores how Prince – showman, artist, enigma – revolutionised the perception of black music in the 1980s with worldwide hits such as 1999, Kiss, Raspberry Beret and Alphabet Street. He became a global sensation with the release of the Oscar-winning, semi-autobiographical movie Purple Rain in 1984, embarking on an incredible journey of musical self-discovery that continues to this day.

From the psychedelic Around the World in a Day to his masterpiece album Sign O’ the Times and experiments with hip hop and jazz, Prince remains one of most ambitious and prolific songwriters of his generation. He tested the boundaries of taste and decency with explicit sexual lyrics and stage shows during his early career and in the 1990s fought for ownership of his name and control of his music, played out in a public battle with his former label, Warners. Still in demand as one of the most flamboyant live performers around, Prince remains a controversial and elusive creative force – as much a mystery as ever.

Contributors include Revolution guitarist Dez Dickerson, Paisley Park label president Alan Leeds, hip hop legend Chuck D and Prince ‘Mastermind’ and UK soul star Beverley Knight. < Show less

BIG BOI with Full LIVE BAND + Theophilus London LIVE IN SYDNEY (Sat 27th AUG) @ Enmore Presented by Niche Productions + AFTER PARY INFO BIG BOI AUSTRALIAN TOUR VIDEO


 

Big Boi + Theophilus LondonSydney

Support: Thundamentals

27 August 2011
Enmore Theatre – Sydney


BIG BOI
(w/ full live band)
with special guest Theophilus London (Brooklyn, NYC)
supported by triple j, MTV and Lifelounge

As one half of Grammy winning duo Outkast, he has sold more than 25 million albums and directed the world’s attention to Southern Rap over a decade before anyone had heard of Lil Wayne. His debut solo album Sir Lucious Left Foot: The Son of Chico Dusty was without doubt one of the biggest releases of 2010, culminating in numerous accolades including triple j album of the week and finding its place in many ‘best of 2010’ lists just a few months ago. Brief promotional performances in Australia last year had people salivating for more and now, Niche Productions can confirm that Big Boi is back! And he’s bringing his full live band and AV/Show with him!

As a headline performer at numerous festivals across the globe last year, Big Boi aka Antwan Andre Patton wins the crowd over with a high energy set featuring belters from his solo album including pop crossover ‘Follow Us,’ the street banger ‘General Patton’ and of course, one of the breakthrough singles of 2010 ‘Shutterbugg’ as well as incorporating classic Outkast material such as ‘I Like The Way You Move,’ ‘Rosa Parks’ and ‘So Fresh So Clean’ with the accompanying music videos blasted on screens. Add to that the extra oomph of bass, guitar, horns and of course DJ and hype man and you have one of the world’s most fun and electric live shows.

After 2006’s Outkast album and film Idlewild, Big Boi kept busy working on Sir Lucious Leftfoot… in between projects with the Atlanta Ballet Company and nurturing up and coming talent Janelle Monae, whose debut solo album was another crossover hit of 2010, proving he is as much the creative chameleon as his partner in rhyme, Andre 3000.

Accolades for Big Boi’s Sir Lucious Leftfoot: The Son Of Chico Dusty
• triple j Album of the Week
• #77 ‘Shutterbugg’ – triple j Hottest 100
• Top 40 ARIA Chart album
• #3 Debut on Billboard 200 Chart
• #4 Best Albums of 2010 – Pitchfork
• #14 Best Songs of 2010 ‘Shutterbugg’ – Rolling Stone
• #21 Best Albums of 2010 – Rolling Stone

Joining Big Boi will be Brooklyn, NYC artist Theophilus London for his debut tour of the country. With his debut EP Lovers Holiday recently released by Warner, London has already gathered a swag of fans and praise for his three mixtapes The Lovers, This Charming Mixtape and Jam! and is considered by many as a style icon both musically and in fashion. He has already collaborated with Mark Ronson for a Gucci promotion and separately with The Daptones for his cover of Calypso Blues (made popular by Nat King Cole) as well as referencing Elvis Costello on the cover for his Charming mixtape. His style on Lovers Holiday effortlessly traverses Chillwave, Hip-Hop, RnB, Electro, Slo Mo House, Boogie and Soul and a recent appearance on the Late Show with David Letterman has him poised in the eyes of many to take over once his full length album drops in May.

With a career spanning nearly two decades and still innovating Rap, Soul and Hip-Hop, Big Boi is a pioneer who is cherished across a number of genres. Do not miss ‘General Patton’ and his superb live band together with Theophilus London as they touch down across Australia and New Zealand in August and September 2011.

AUSTRALAN TOUR MESSAGE

BIG BOI AFTERPARTY

Also heard these was this after party on presented by GET BUSY PRODUCTIONS

The Backroom Sydney and Get Busy Productions present

The Official BIG BOI AFTERPARTY

BIG BOI From grammy award winning band OUTKAST will be HERE & hosting this Saturday at The Backroom Sydney keeping us all moving to the “Shutterbugg” and “Ghetto musick “!

Please come down and join us for the media event in celebration of Big Boi’s Australian tour ! Directly following the show at the Enmore theatre.

This Saturday the 27th August

Complimentary drinks on arrival !

Doors open 9pm we goin alll the way till 5 AM !!!!

dont be late ! Limited capacity event.

The Backroom – 2A Roslyn st Kings Cross, Sydney

further info: sam@getbusy.com.au

Track Of The Weekend #5: Stevie Wonder – All I Do, Played at the Funkdafied Secret Warehouse party Sat 24th July


[tweetmeme source=”soulofsydney” only_single=false]

Live @ Last London 2008

Played as the closing track by DJ Frenzie (Groove Therapy) at the Funkdafied Secret Warehouse party last night.

Catch Frenzie playing Hip Hop, Funk, Soul on the GROOVE THERAPY radio show, 12-2PM Fridays on 2SER 107.3 FM, or check the podcasts here.

Also stay up to date with the next Funkdafied happenings through facebook or find them on the web.

Downloads:

Stevie Wonder – All I Do (U-turn Disco Edit)

[tweetmeme source=”soulofsydney” only_single=false]

——————————————————————-

Connect With Soul Of Sydney

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.”