Everything ██is█████ ████ ████fine ███ █ ████ love. ████ █████ the ███ Egypt ███ ████ government ██ Vs Egyptian Lover – Egypt Egypt !

Everything ██is█████ ████ ████fine ███ █ ████ love. ████ █████ the ███ Egypt ███ ████ government ██

Ok we never get too political on here, but I was actually just reading the tweets on #Egypt and have a guess what tune popped up on shuffle…

The Egyptian Lover – Egypt Egypt

Classic 808 Electro banger if there has ever been one..

If your keen on the 80’s Electro & Classic RAP vibes like this then stay close to our good mates @ COLD CRUSH for mixtapes, write ups and club nights pushing the old school sounds in Sydney.

I-F TLR Viewlexx Creme Organization Intergalactic FM Sydney GodspillNext Cold Crush Gig:

Friday February 11

I-F & TLR, Cold Crush DJs (Simon Caldwell, OSC-001, RETALI8 & Mattamation), Slow Blow & NHJ (Meccanoid Melbourne)

Tone, 16 Wentworth Ave Surry Hills

More Info @ Facebook

Soul Of Sydney Podcast #9 – Journey through Cosmic Disco, Boogie & Chicago House Vibes, Mixed By Sloppy Seconds

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Soul Of Sydney Podcast #9

A 75min trip through Cosmic Disco, Boogie and even some classic Chicago House vibes. Presented with luv by Sydney based Re-mixer, DJ, Label Owner and Blogger, Sloppy Seconds.

Download: Here

Time: 75 Mins



01. Bumblebee Unlimited “I Got a Big Bee”
02. Loleatta Holloway “Hit & Run”
03. Skyy “First Time Around” Kenny Dope Main Mix
04. Skyy “First Time Around” Kenny Dope Drums
05. Marlena Shaw “Woman of the Ghetto” 4AM Rework
06. Koto “Chinese Wargames”
07. Toby Tobias “Crocodile Tears”
08. We’re Lofty Volt “Alter Flaw”
09. The Orb “Perpetual Dawn” (Pal Joey Cumulo Nimbus Mix)
10. Kraftwerk “Musique Non Stop”
11. NYC Peech Boys “On A Journey” 12″ Vocal Mix
12. Mantronix “Listen to the Bass”
13. Edwin Birdsong “Son of a Rapper Dapper Snapper”
14. Julia & Company “Breakin’ Down”
15. Whodini “Escape” Instrumental
16. Stevie Nicks “Stand Back”
17. Space Ranger “Phase Fever”
18. Dolle Jolle “Balearic Incarnation” (Todd Terje’s Extra Mix)
19. Larry Heard “Dance of Planet X”

Download: Download: Here

About Sloppy Seconds


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 catalogue (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 80’s 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.


(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.

More from Sloppy Seconds

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Connect With Soul Of Sydney

DAM FUNK Mixes: Payday! Live Mix (May 08) + Station 23 anniversary mix (April 09)

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Mix #1 :


Pay Day! Hollywood

May 2008

Time: 40 Mins

Format: .mp3

Style: Electro Funk, Boogie & Disco


From freethescene.com


Dam Funk wrote the book on boogie, funk, and street cred.

When you see this guy live as soon as he walks into the room all the sudden it gets funky. Just everything about this guy is Funk.

When he DJs it’s all 100% wax original pressings, 2 turntables,an old school casio microphone (to keep the MC sounding backyard boogie status), and Los Angeles’s funkiest dude going to town on the decks. This is first DJ I have ever seen where I thought, “Thank GOD this guy exists, DJing is still progressing to another level, and this world isn’t doomed by sorority girls djing their Britney mashups through itunes”.

Enough talking, enjoy this golden set, let me know what you think.



Mix #2 :


2nd Anniversary Mix for Station 23 Radio

April 2009 Continue reading

DAM FUNK + Toni Toni Lee (Live), Gian Arpino & Japeye Bennett + Podcasts & Interview

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Niche Productions present:


Sat 15th @ The Basment

Supported by:

Toni Toni Lee (Live), Gian Arpino and Japeye Bennett



Niche Productions is proud to present the debut Australian tour of the ambassador of Boogie-Funk, Dâm-Funk (Stones Throw – Los Angeles, California). Bursting on to the scene in 08-09, Dâm (pronounced ‘Dame’, as in Damon) won over a slew of fans from Disco-Boogie aficionados, the Beat scene, hardcore Hip Hop heads and Hipsters alike with his debut 12″ ‘Burgundy City/Galactic Fun.’

In 2009, he was one of Stones Throw busiest artists, putting out so much material you’d think he was giving Madlib a run for his money, with the ‘Toeachizown’ album being released digitally in five instalments, all of which teased fans with different elements of his influences. During this time he also managed to put out a few mix CDs, a beat tape as part of Stones Throw’s  ‘Rhythm Trax’ series and turned in remixes for Red, Baron Zen and superstars Animal Collective. At the tail end of 2009, the album was released in 2CD and deluxe 5LP box set editions.

His Monday night Funkmosphere club night is the stuff made of legends. From record-dealer types with obscene collections to a heavily bearded Joaquim Phoenix and beyond, it’s the spot that everyone is trying to get in to. But Dâm’s roots go well back to a time before ‘Disco’ was a cool word.

Cutting his teeth as a session keyboard player for artists of the G-Funk era like Mack 10, MC Eight and Westside Connection, you can easily hear his hip-hop roots in songs like ‘Hood Pass Intact’, and even though he dresses the part, don’t expect Dâm to get all thugged out on us out here on his debut tour. Dâm-Funk promotes love, spirituality, astrology and good vibes with his music and his open and outward personality – if you’ve ever heard him be interviewed or seen live clips online, you will know he is very generous with his time.

Calling his sound ‘Modern Funk’,Dâm-Funk’s live show takes in both his impeccable DJ mixing style as well as a Live-PA style side which includes vocals and keyboards, showcasing both the original material he writes and records, and the records which have inspired him.

Join us for the show everyone will be talking about for the rest of the year.


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Check out the Dam Funk Interview today on Soul Glow radio

DJ Huwston interviews Dam Funk his show Soul Glow on 2ser 107.3

Soul Glow Radio 3pm every Tuesday,


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Mixes & Podcats

#1 Dam Funk, BBC’s Radio: Mary Anne Hobbs Experimental Show, May 1 09

  1. DâM-FunK – ‘Brookside Park’ (Stones Throw)
  2. DâM-FunK – ‘Spacecapades’ (Stones Throw)
  3. DâM-FunK – ‘This Time, Take It Out On the Groove’ (Stones Throw)
  4. DâM-FunK – ‘Flying V Ride’ (Stones Throw)
  5. DâM-FunK – ‘The Sky Is Ours’ (Stones Throw)
  6. DâM-FunK – ‘Sidewayz’ (Stones Throw)
  7. DâM-FunK – ‘Rollin’ (Stones Throw)
  8. L.S. Movement – ‘Move Everything You Got’ (LA/Veg)

or download

#2 Dam Funk 3hr Mix up on BBC Radio 25th Oct 09

Track listing

  • BaronZen – Burn Rubber (Dam-Funk Remix) (Stones Throw)
  • Dam-Funk – Burgundy City (Stones Throw)
  • Dam-Funk – Red (Stones Throw)
  • Dam-Funk – Special Dimensions (Stones Throw)
  • Dam-Funk – Killdatmutha***a (Stones Throw)
  • Dam-Funk – Galactic Fun (Stones Throw)
  • Dam-Funk – She Lights Me Up (Stones Throw)
  • Dam-Funk – 10 West (Stones Throw)
  • Dam-Funk – Chocolate (Stones Throw)
  • Dam-Funk – Indigo (Stones Throw)
  • Dam-Funk – Rollin’ (Stones Throw)
  • Dam-Funk – Purple (Stones Throw)
  • *Dam-Funk In The Mix*
  • Pyramid Plus – Comin At Ya (Lifeworld)
  • Del Richardson – Rainbows (Joy Spring)
  • Cliff Dawson – I Can Love You Better (Boardwalk)
  • Midnight Express – Dangerzone (Tri-Fire)
  • Rah Band – Messages From The Stars (TMT)
  • StarShine – All I Need Is You (Prelude)
  • Alfreda James & Billy Ray – Back To Love (Rappers Rapp Disco)

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Cold Crush: Electro-Funk Rap &; Boogie Night Fri 16th April + Simon Caldwell &; DJ Hysteric Electro-Boogie Mixes

Cold Crush

‘More Bounce To The Ounce’

Part two of Sydney only 80’s Electro Funk & Rap Night is back THIS Friday 16th @ 202 Broadway

click for more info or FB event

Kicking off nice and early at 9pm with an extend FUNK & BOOGIE set by local BBOY DJ SAGE ONE who featured in the first podcast

Also the one & only DJ Hysteric — the perpetrator behind Melbourne’s legendary System electro parties up from Burn City to rock the decks with the Cold Crush Mob — that’s RETALI8, OSC-001 & Simon Caldwell, along with special guest boogie man Sage One: bboys b-ware!

You know the drill, old school vinyl mixing, dope cuts and ya’ll party freaks ripping up the dancefloor. 202 have a new sound system in too, it is fat and YOU KNOW Cold Crush gonna be rocking those bass-bins.

Cold Crush electro mixes

Cold Crush Electro Mixtapes

#1 Simon Caldwell Live @ Cold Crush Dec 4 2009


  1. Hashim – Al-Naafiysh (The Soul)
  2. Egyptian Lover – Freak-A-Holic
  3. Bumper – Tuff Groove
  4. R-Damski – Project Pt. 1
  5. Def Cut – I Pay Back
  6. Mobile Space Unit – Eruption
  7. The Artificial Arm – Welcome To The Planet Funk
  8. Suat G – B-Boy Bonus Beats
  9. Sven Vath – Schubduse (Anthony Rother Remix)
  10. Resident Alien – Radio Killer
  11. DMX Krew – Bass Mission
  12. A1 People – Do It
  13. Thomas Schumacher – When I Rock (Anthony Rother Remix)
  14. Subway – Testing (Dexter Remix)
  15. Chromatix – Cranioplasmatron
  16. The Freeek – Martian Leaders O.E.
  17. DJ Godfather – Aliens Got The 808
  18. Egyptian Lover – Egypt, Egypt
  19. Mental Blox – Bass Synthesiser
  20. Uprock – Klockwerk Oranj
  21. Biochip C – Steal It And Deal It (DMX Krew Edit)
  22. Anthony Rother – Compression
  23. Third Electric + Artificial Material – High Tension Wires
  24. The Artificial Arm – You’ve Been Messing With My Mind
  25. Afrika Bambaataa & The Soulsonic Force – Planet Rock

Download @ Cold Crush

With this set I was trying to play a whole bunch of my favourite electro tunes, mainly focusing on newer tracks with a bit of an old school vibe, and trying to tie them in with a few classic oldies. It was mixed with the dancefloor in front of me, so I tried to keep it pretty beat-based, but managed to get some spacey vibes in there too. I love how this kind of music makes really abstract things funky. It’s like the machines are making the music themselves if the sounds and the feel all click together; it’s organic and artificial at the same time. Unfortunately I don’t get to play these tunes very much any more (the complete rape of the word ‘electro’ hasn’t helped) so it was fun to drop them at Cold Crush. Hopefully you enjoy the mix and can have a little body-pop to it.
Simon Caldwell


#2 Hysteric – Electro Will Never Die

More info + interview here & electro mixes here

Cold Crushin’ Mixes is back with a slamming electro mix from Melbourne mix master and certified wax addict Hysteric, who has done some hardcore crate digging to pull some very obscure tracks for us! But don’t let the fact that you have probably never heard of most of the tracks put you off — as unknown as many of the tracks might be to all but the most knowledgeable of electro fans, our homeboy Hysteric has put together an absolute banger of a mix, covering a range of styles from bboy electro funk and electro rap, to synth pop, minimal electro, new wave and some very heavy hitting sludge electro tracks from The Hague. Ya’ll should know what to expect by now from Cold Crushin’ Mixes, so needless to say, shit is off the chain!

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Podcast #6 – DJ Phil Toke : 80's Electro-Funk, Boogie & Disco mixup live @ Goldfish Kings X

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Soul Of Sydney Podcast #6

A mix of some 1980’s Electro-Funk, Boogie & Disco by Phil Toke (myspace) mixed live at Gold Fish Kings Cross Sydney Summer 2010

Style: 1980’s Boogie,Disco & Electro-Funk

Download Here

Catch Phil Toke paying tribute to the roots of house music @ the RESPECT warehouse party, 20th March 2010, click for more info

1. Timmy Thomas – Are You Crazy???

2. Cubby St Charles – Party

3. The Fatback Band – Finger Lickin’ Good Continue reading

Podcast #6 – DJ Phil Toke : 80’s Electro-Funk, Boogie & Disco mixup live @ Goldfish Kings X

Subscribe in a reader

Connect With Soul Of Sydney


Soul Of Sydney Podcast #6

A mix of some 1980’s Electro-Funk, Boogie & Disco by Phil Toke (myspace) mixed live at Gold Fish Kings Cross Sydney Summer 2010

Style: 1980’s Boogie,Disco & Electro-Funk

Download Here

Catch Phil Toke paying tribute to the roots of house music @ the RESPECT warehouse party, 20th March 2010, click for more info

1. Timmy Thomas – Are You Crazy???

2. Cubby St Charles – Party

3. The Fatback Band – Finger Lickin’ Good Continue reading

Days Like This Festival Mix By Soulshaker DJ's + Set Times,Giveways & After Party

Tickets Available Here
Set Times Here

DLT Festival Mixup, BY Soul Shaker DJ’s

Download Here @ Soul Shaker DJ’s Blog & be sure to catch SoulShaker DJ’s playing the Garden Stage at 12:30 till 1:30

Track List
1. Jungle Juk (TSOP) – JamNowGen
2. The Drop – The Nextmen
3. Maybe So Maybe No – Mayer Hawthorne Continue reading

Days Like This Festival Mix By Soulshaker DJ’s + Set Times,Giveways & After Party

Tickets Available Here
Set Times Here

DLT Festival Mixup, BY Soul Shaker DJ’s

Download Here @ Soul Shaker DJ’s Blog & be sure to catch SoulShaker DJ’s playing the Garden Stage at 12:30 till 1:30

Track List
1. Jungle Juk (TSOP) – JamNowGen
2. The Drop – The Nextmen
3. Maybe So Maybe No – Mayer Hawthorne Continue reading

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

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.”