Organization - the colorful side of power plant

If you think that Kraftwerk were 'only' co-founder of the House and later techno will be surprised. Anyone who thinks that the famous sound came out of nowhere to rethink who should.
Despite the ongoing rediscovery and conservation of power plant as an audiovisual work of art - think here of the three Munich concerts in October last year and the eight MoMA shows - the origins of the whole appear for example in the previous band organization even among supporters rather unimportant. Even Ralf Hütter as the last remaining founding member has his problems with his four early works Tone Float Kraftwerk, Kraftwerk 2 and Ralf & Florian. In "The Catalogue" he let the three Kraftwerk albums on the sidelines, was sold the whole thing yet as a "complete edition" or "retrospective"; most appropriate in terms of man-machine, the supposedly cool robot band with a sound that seemed to mature with highway . The limit was set at the transition from acoustic instruments to synthesizers - as if that instrument would have changed the fundamental approach to music. Finally, Hütter emphasized in an interview that a microphone is only a medium, which can be used in different ways - a commonplace, one would think. Nundenn let us lead the eye back to deeper insights.
End of the '60s began, the two students Ralf Hütter and Florian Schneider-Esleben her classical training tool for experimental and improvised music to use. 1970 resulted in the one album that would have at my discretion in any way that orchestrated or arranged to fail, a cast in the form jam session. The other musicians in the plate seem random, the occupation of the duo + x organization to achieve common musical conceptschanged constantly. So it was with the ungewöhnerlicherweise published in the UK LP Tone Float three artists who otherwise seem more of a footnote in music history: Butch Hauf and Fred Monicks Basil Hammoudi, who after all still a shot in his repertoire, Ibliss' supernova. This album is worth a look, even if it was published two years after Tone Float, and has created in terms of jazz-level, psychedelic krautrock little originary, after all, playing there with Andreas Hohmann, who was involved in power plant I, also here, too, was Conny Plank, the sound technician in the Studio. Pick out direct influence is of course close to the tea leaves, but it must keep in mind when listening to the organization and early Kraftwerk records.
But now to Tone Float, the colorful debut by Hütter and Schneider. Just Hütter, which always ruled on the image and work of art thoughtful head of the troupe dares to such a meandering album barely. It is rather an extensive Improvisorium, herbaceous in the best sense, music without a goal or plan. The pieces appear to be under the game to develop, are verses or choruses, it is not, rather the concept of subject and paraphrase. What a contrast to the late power plant!
The album takes ten minutes to get into the river. Previously chirping, drumming, it dingelt almost arrhythmic. Flute, organ, bongos and bass come together slowly, not later than three minutes, the sound is approachable, a jam session in a tropical night, a kind of creative sound check. After a brief moment of Verschnaufens in seven minutes it's time to rebuild, the climax, which ends around minute ten in that part of the song, one would perhaps best recognized as such. Only here there is a melody in the true sense, while previously dispensed with traditional elements of a song. Milk rock rises almost like a Madchestersong other hand, rumbling, doomy bass line later in Joy Division. Add to that a flute, how seldom you hear: Close to the crash, some more like a song with duct tape on his mouth. The first melody is always exposed in the present context, perhaps the "most classic" Song of organization.
Silver Forest, a piece of film rather than a song. Suspense, all instruments remain long in the background to the organ in the disturbing overtones fiepend moves into focus. Damn close to Pink Floyd. To quote from Man Machine and Music, page 24: "Later in 1975, Lester Bangs Hutter asked if Kraftwerk felt a debt to Pink Floyd. 'No', he replied, 'It's vice versa. They draw from French classicism and German electronic music. '"
Somehow, the album is typical of the psychedelic sound of those years, half the lineup of Woodstock used bongos, an organ was fashionable. The arrangements are derived in part from the jazz - as well Ibliss' supernova - that is a permanent variation of the motives of style. The percussion is sometimes wild, sometimes only a discreet sound patterns, especially in passages where silence is required, as with Noitasinagro, but also the song dissolves end up in chaotic pleasure, the subsequent discipline is not yet so pronounced. In a sense, one may then draw lines from organization to plant: producer Conrad Plank, the pylon as a band logo, Andreas Hohmann, Quick, Florian's flute as a quasi-synth, some already set up the use of silence and pause to stress. But one should recognize the cut after power plant II, away from the psychedelic Krautrock towards a new aesthetic.
In terms of pioneer life, I commend the enjoyment of the documentation linked below. Since there is profound and knowledgeable informants than me, but a set this: Hütter and Schneider were heavily influenced by a Cologne professor and composer of the early '50s synthetically generated sounds - that is not classical instrumentation or musique concrète - to create and use knew: Karlheinz Stockhausen. As an introduction for this purpose I recommend the following two interviews. One can therefore say that the power plant started in a particular medium synthesizer, characteristic way to take advantage of these experiments was not alone - even coming from Germany with Tangerine Dream and Can tough competition, especially in terms of pioneers. But this one other time more.