Kraftwerk are one of the most enigmatic bands ever and It is enough to be in the same room as them.

Also, if they were a bit off that particular night, who can blame them. It was Miniapolis after all!!!

1). Minneapolis doesn’t have much of a scene for Electronic Music.
Yes, there are exceptions, but most people here seem to have the prejudice that Electronic Music is an oxymoron. They want rockers with rockin guitars and sweet vocals and kickin drums. I’ve called out my friends on it many times. The Strib is just a mainstream publication so the reviews it gives are reflecting that.

2). Kraftwerk ruled, but…

3). This was by far the worst venue I have ever been to. Myth tried at every turn to stymie my experience of Kraftwerk, from forcing me to park in a Kohl’s Parking lot (right next to Toys ‘R Us), crowding me in with too many people, and having all the guards yell at me non-stop. People sucked too.
Worst. Venue. Ever.

So, it’s not about trusting a music/film review. If that was the case, it would be completely useless to read it, becuase they could write whatever they want, even that the kraftwerk can fly, if you would never have the chance to know.
It’s a matter of bringing – or not – any valuable consideration that may make you change your mind about a certain subject.
We don’t explore all the aspects of all the things we think and discuss about. So, discussing, we may change our mind, if something clever comes up. Nobody knows everything, and everyone’s judgement is always incomplete.
Didn’t you know that?

So if someone described a concert – quite precisely, afterall – like a poor show, the only thing that matters is: the description was true, was it reasonably complete?
Then, based on facts, you can judge if such a show could be good or not. Otherwise it’s only your word agaist his word.

I quite often change my mind, not because I want to follow the wind, but simply because there is often someone clever or lucky enough to bring some valuable considerations that I had not thought about.
Only in this case, discussing is usefull: share valable information, but most of all, make someone else consider differnt aspects of things from the ones that have only been considered.
Then, some of he talkers may have an interest in making something look in a certain way, or maybe some is really not bright, but otherwise, there is a lot that can be considered, without bringing prejudices like “they don’t like it because they are ignorant” – always on top.

No ones really needs to declare how impenetrable he or she is, it’s useless. To start a conversation with “I don’t trust”, is just unnecessary and useless. Anyone can say it, and in fact someow every one wants to imply it, nowadays; it doesn’t take to be excellent. Especially a stone is impenetrable. So what? If we had to trust what they write in newspapers… well… byebye

Knowing an author since he used to dirty his pants doesn not give anyone any special right of making that author untouchable.
Who cares IF kraftwerk invented anything? They only play the most silly ideological tin music that sounds like demos from child keyboards. Their work is an alienating apology of the machine, and there is not any shadow of an ideal apart from that. I don’t know how some can call that inspiring.
They really make music for calculators. They make calculators happy.

I like electronics music: it can be expressive in a way that phisical instruments cannot; it can be supernatural.
But not kraftwerk. They are the opposite of supernatural. They are very low: tuned engines, synthetic coockoo clocks. They miss the point of making music, an act that unites Unites what? anything. Everything. On the opposite, their sounds are thin and individualistic, they don’t bring spirit, they don’t even make friends. Their music is not electronic music – music made with electronics, for people. Rather, it is music made about electronics. I don’t want to please electronics! Rather, It’s the other way round. Kraftware basically says I love the machine, I obey the machine. They put in sequence annoying, simplistic, childish melodies that resamble old home machinery, telephones, voicemail, beep beep.

The farer away from this they went, is to made asongs in the honour of aerodynamics, speed… but the italian futurists made this unnecessary strangeness un century ago without any computer. You honestly have to judge how big and glorious is the kraftwerk contribution to art. To me, they just go backwards: instead of cotributing to the glory of the seven notes, they take away. They mortified music by riducing it to nothing. Or even try to subvert the relationship instrument/music. Their music is about the instrument… literally. Just like man is reduced to produce machines, rather that machine just produce goods for man.
And their music, specifically? What has it got so special, that all the critics should go down to their knees and adore?

I think Kraftwerk are a joke in comparison to many talented kids playing in the streets and even DJ-ing in their garage. Even theese sweat ugly neoprimitives are infinitely more interesting than kraftwerk. On any aspects.
And to say that someone not liking Kraftwerk’s sterile ping-pong sounds is an ignorant, really only shows how narrow is this person’s idea of music: ping pong, ziiiiing! That’s all.

Take Vangelis: he takes electronics to their best expression. He makes music for people – and I mean non only their mechanical aspect, the bodies – and NOT for calculators. NOT music to please an absurd god of machines. He espresses high, important ideals with music. This is inherently good. While repeatig for 30 yers the same abstract essay on machines is an objectionable act, to say the least.
Can I too say Kraftwerk are boring without being called ignorant or whatever? Thy are incredibly boring. 4 Maybe 50-60 years old record salesmen standing for 2 hours like manikins that stare the screens of their cash registers and making their toys sounds, given the cost of the ticket, is just a… ahhh.. no thanks.
Sorry, I got too tired for this … byebye

“the tunes from “Tour de France” had more depth and musicality than the repetitious minimalism of the earlier material”

“It was the only piece that built in intensity like a good rock song does.”

““Robots” was fun, delivered by four robots that, frankly, were more animated than the musicians they depicted.”

“the computerized dirge droned on in second gear for too many miles.”

Certainly sounds like the words of a dinosaur rock fan. Makes me wonder if he sat disgruntled in the back yelling “FREEBIRD!” between each song.

and speaking of guys behind laptops, Pole/Stefan Betke played here sunday night, and it rocked.

I’ll admit, I went to the show with the impression that it could be totally awesome or just ok. I was a big fan, but probably not as much as a lot of the other fans there. During the entire duration of the show I was full of this incredible energy, the experience was phenomenal. The visuals, the music and the fans made it an overall unforgettable experience.

I’m so sick of the Twin Cities papers fighting to put out what they think is “hip”. It’s ridiculous, the Vitamn and Star Trib are always late on knowing who the new, “cool” bands are anyway. A new band comes out and a couple months later after everyone is already sick of them, they finally do a write up about them. It’s bullshit. Give up already, the fans already know what’s good without the Star Trib telling them. Let them decide on their own. Shit, indeed.

One of the most important concerts of my life. Other people I met traveled across the midwest to be there.

The reviewer noted the influece on others, duh, noted some current musicians dubbing, seemed to think Kraftwerk took a little something from today to tack on and bring themselves up to snuff.

The music is still groundbreaking, highly influential, and technically superb in concert. No sound problems here. Kraftwerk’s tones are always crisp, dynamic, in your face, loud enough, and brilliant in combining bits to approximate vocals in “Tour de France,” to name one high point. Yes, POWERpoint. Precise, planned, and effective. I could go on and on. And this reviewer has no clue as to the amount of work behind this. Kraftwerk creates about all with synthesis. There is no “sampling” nor acoustic sounds. They do it all.

Of course it may be hard for persons to grasp this when they can’t see them at work with the machines and analog type sources. When Holger Czukay was in town several years ago, he walked around with his stuff, turning knobs etc. Still this doesn’t make for a lot of groovy visuals.

The visuals as noted were excellent and combined with the sounds to a great degree- as far as evoking moods and thoughts.

Standing still, changing constumes, etc. wasn’t just lazily farting around. Probably what was missing for the reviewer was …Tits and Ass! The Brazilian Girls at Fine Line had good synthesis, a mix of styles, modern commercial appeal, and a gorgeous lead singer, with references to sex, etc. Maybe thats what the reviewer was looking for.

At Kraftwerk concert I saw plenty of excitement in the crowd, from a young woman in silver lame and red stiletto boots to others behind me swaying and bobbing, jumping, and screaming like crazy. We all had a great time. And that is part of a concert also.

Yes,it is sad that music reviews in twin cities publications fall into promo of local acts, promo of the big money makers, or fawning over personalities. I haven’t seen any good critical understanding of MUSIC in years. This is no different from any other subjects. Look at the media coverage of the primaries. Sound bites, American Idol, news entertainment. SHIT.

That said, I’ve seen Kraftwerk’s DVD of their show and it’s pretty impressive.

I still want to know, though, if they are really checking their email!