Hi Sorry for posting in html I forgot.... All credit must go to Peter Page he is the one that did the transcribing not me. Cheers Chris.... ----- Original Message ----- From: "Oh Jay" <oh_jay@freenet.de> To: <chrisstorey@iprimus.com.au> Sent: Tuesday, February 25, 2003 12:39 AM Subject: Re: [Kraftwerk] Interview with Ralf Hutter in Sydney transcribed

thanx for the interview transcription , chris ... but why the heck do u still post your messages in html format to this list , as it totally screws up the daily digests ( see below for another example of it !!! :-o ) !? *jus'_curious*

it's actually a real pain to read through such garbled digests !!! *sigh* :-o

however ... many greetinx ,

oh jay ;-)

*~\^/~*

...

Message: 1 From: "Chris Storey" <chrisstorey@iprimus.com.au> To: <kraftwerk@mailman.xmission.com> Date: Mon, 24 Feb 2003 22:59:49 +1100 Subject: [Kraftwerk] Interview with Ralf Hutter in Sydney transcribed Reply-To: kraftwerk@mailman.xmission.com

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Interview with Ralf Hutter in Sydney, Australia on Friday 24 January = 2003, conducted by Richard Kingsmill of Australian youth radio network Triple = J.

KINGSMILL: Has the technological advances that have occurred in the last = 20, 30 years, has it made it easier for Kraftwerk to play live?

HUTTER: Yes definitely, because now we have our laptop computers, and we = can travel, where before you can imagine, in the 70s, 80s even, we had all = this huge analogue music machines, UK and Europe were (inaudible) autobahn, = but then flying to America, or coming to Australia was nearly impossible.=20

KINGSMILL: Did it restrict what you could do, and how much...

HUTTER: Yes, in a way, because Lufthansa wouldn't fly us in here for = free, so your cargo charges and

KINGSMILL: ...was too expensive

HUTTER: Yeah. But now we can travel and we're really very moveable, and that's why we are here.

KINGSMILL: Have you enjoyed playing live, because there's speculation amongst your fans about whether you actually do like the live = performance.

HUTTER: Yes, we don't do that many concerts but it's always a challenge = and so far the computers have worked very well, and ... little failures here = and there, but overall they have been very friendly with us and we have been friendly with the computers, so things are working very well.

KINGSMILL: I noticed last night (Enmore Theatre, Sydney) just a couple = of glitches along the way... and that was actually surprising to see the reaction from the audience, because there is speculation about how much = of it is actually being played live on stage.

HUTTER: It's all live, the computers are running live.

KINGSMILL: Do you worry much about those mistakes when they happen?

HUTTER: Uh, no, but there's always a risk of total failure then we would have to stop, out, and have to make a short speech, re-load, and start again.

KINGSMILL: Is this part of a, resurrection if you like of Kraftwerk? = You've been very quiet for, you know, the last fifteen years.

HUTTER: Yes, we have been working in our studio, doing all our very very old, from the late 60s, early 70s, the analogue tapes, we have = transferred it onto digital format, so we put a lot of work on our old Kraftwerk original sounds. Also now we have been doing re-masterings, which will probably come out later this year, and we have been doing all these = sound files, to perform with the original Kraftwerk sounds, live, and working = on those.=20

KINGSMILL: Mmm. A lot of artists like to move on. They don't tend to = like a lot of their early work, do you enjoy listening back to what you created = all those years ago?

HUTTER: Yeah, well we don't listen so much but we have been working in transferring the sounds, and now putting them forward into our live performance.

KINGSMILL: What about the new music of Kraftwerk, is there much?

HUTTER: Yes, we are working on different tracks, and when we play some = more concerts on the Big Day Out festivals, then we fly back into Germany in = to our Kling Klang studio, and we will continue work on the next album.

KINGSMILL: Which is how much completed?

HUTTER: Ohff, 99%.

KINGSMILL: That close? How's it sounding?

HUTTER: Kraftwerk-like.

HUTTER: In Dusseldorf we work in our Kling Klang studio since 1970, and = the doors are closed, and we are doing what we have to do. Our work we call ourselves musik arbeiter,=20

KINGSMILL: ... which translates as..=20

HUTTER: Musical workers

KINGSMILL: uh-huh

HUTTER: ... and that's what we do.=20

KINGSMILL: You are very isolated? I have read, no faxes, no phones, no contact..

HUTTER: Yes, all this would be disturbing..

KINGSMILL: So you isolate yourself as much as possible?

HUTTER: Yes, for the work, and then we go out again, and we go to clubs, = to dance, and we travel, we are working on all aspects of creating = Kraftwerk, that's the one thing we do, we have never been able to do other things.=20

KINGSMILL: When you and Florian are working in such an intense = environment in creating pieces of music which would take.... would they take maybe = years to create?

HUTTER: Yes, sometimes, and then we put them away, and listen back = again, and do other things,=20

KINGSMILL: ... and then change them slightly..

HUTTER: yes,=20

KINGSMILL: It must be very refreshing then to finally get out of the = studio and take it to people..

HUTTER: Definitely, yeah.. Well we... in the first place we are live musicians..

KINGSMILL: Mmm, because you and Florian met at conservatory..

HUTTER: Yes

KINGSMILL: Was it in Dusseldorf or Cologne?

HUTTER: Outside of Dusseldorf, there was having some improvisational courses, so we just hooked up together and did stuff. '68. And then we organised a loose collection of musicians, and around 1970 we built our Kling Klang studio and Kraftwerk, and from there on we have been working = all the time, until now.

KINGSMILL: Do you listen to a lot of other artists for inspiration?

HUTTER: Well we hear music all around, we hear the sounds of the environment, we hear the aeroplanes, we hear the cars, we hear the = cities, we go to clubs, we hear when we are in the festival, so we are picking = up vibes from over all. Our ears are microphones.=20

KINGSMILL: Yes. Well reproducing reality is I think ... (inaudible) = years ago you said , is that still the role for Kraftwerk?

HUTTER: Yes. Well we take from our experiences, like travelling through Europe, that's where Trans Europe Express comes from, Autobahn comes = from hundreds of thousands of miles on the autobahn...

KINGSMILL: .... and of course Tour De France..

HUTTER: .. Tour de France comes from our cycling experience, and we've = been, er, the music has been the official music of the Tour de France when it = came out.

KINGSMILL: A couple of questions from people, because there's lots of = fans of Kraftwerk here [at JJJ]. Robbie wanted me to ask you about when you = first heard Afrika Bambaataa's Planet Rock, which had heavily sampled your = piece from the 70s...

HUTTER: It's not sampled, it's replayed.

KINGSMILL: ... replayed with the rappers over the top of it. How did you feel when that, that was obviously crossing over into another = generation..

HUTTER: Well, we have been hearing Bambaataa many years before. Our = first experience was when he was playing Trans Europe Express and Metal On = Metal on 2 discs in a club, and they were experimenting with two record = players, and they had two pressings, and so he was doing that, and from there I = knew there were things going on, and then he did that rap record, and Trans Europe Express.

KINGSMILL: Did you find it exciting?

HUTTER: Yes, it's a very, very good record.=20

KINGSMILL: Yes, well its just a completely different generation and also culture that was picking up on your music. Was that strange for you?

HUTTER: Er, in a way, not, because we had always been accused of our = music being cold, and repetitive, and boring and very machinistic, and we = always found there was soul in the machines, and then one day when these = records came out it was proven that there is soul to the sequencers of = Kraftwerk.=20

KINGSMILL: And another question, just to sort of wind up.. the future is something which Craig who works here wanted me to ask you about. When = you were little, when you were young, did you think much about the future?

HUTTER: Maybe we thought more about the present, because living in = Germany we were the first post-war generation, and so there was a cultural emptiness, which we discovered at puberty, and in the first place there = was a little culture shock, living in this total emptiness, but from there = on it was an enormous chance, so we could make it up, we made up our own = living culture, everyday culture, we call eitaks kutuur, and that was a very = big chance. There was no big entertainment scene, or musical scene, of = course there was the classical music from way back the 19th century, and there = was a electronic music scene around the radio stations, maybe those = combinations of situation inspired us to make up our own music. Everyday electronics. =

KINGSMILL: Yeah, well there was scene coming up, but it was a rebuilding wasn't it? Of culture, and of ideas? It must have been very exciting.

HUTTER: Yes, it was an enormous chance in those days.

KINGSMILL: Do you think much about the future now. There's been so much that's happened in 20 years, what do you think is going to happen in = the next 20 years?

HUTTER: Oh we have to see, be awake, and keep your eyes and ears open, = and we'll see.

Transcribed by Peter Page

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3DContent-Type content=3D"text/html; = charset=3Diso-8859-1"> <META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D#ffffff> <DIV><BR>Interview with Ralf Hutter in Sydney, Australia on Friday 24 = January=20 2003,<BR>conducted by Richard Kingsmill of Australian youth radio = network Triple=20 J.<BR><BR>KINGSMILL: Has the technological advances that have occurred = in the=20 last 20,<BR>30 years, has it made it easier for Kraftwerk to play=20 live?<BR><BR>HUTTER: Yes definitely, because now we have our laptop = computers,=20 and we can<BR>travel, where before you can imagine, in the 70s, 80s = even, we had=20 all this<BR>huge analogue music machines, UK and Europe were (inaudible) =

autobahn,  but<BR>then flying to America, or coming to Australia = was nearly=20 impossible. <BR><BR>KINGSMILL: Did it restrict what you could do, and = how=20 much...<BR><BR>HUTTER: Yes, in a way, because Lufthansa wouldn't fly us = in here=20 for free,<BR>so your cargo charges and<BR><BR>KINGSMILL: ...was too=20 expensive<BR><BR>HUTTER: Yeah. But now we can travel and we're really = very=20 moveable, and<BR>that's why we are here.<BR><BR>KINGSMILL: Have you = enjoyed=20 playing live, because there's speculation<BR>amongst your fans about = whether you=20 actually do like the live performance.<BR><BR>HUTTER: Yes, we don't do = that many=20 concerts but it's always a challenge and<BR>so far the computers have = worked=20 very well, and ... little failures here and<BR>there, but overall they = have been=20 very friendly with us and we have been<BR>friendly with the computers, = so things=20 are working very well.<BR><BR>KINGSMILL: I noticed last night (Enmore = Theatre,=20 Sydney) just a couple of<BR>glitches along the way... and that was = actually=20 surprising to see the<BR>reaction from the audience, because there is=20 speculation about how much of<BR>it is actually being played live on=20 stage.<BR><BR>HUTTER: It's all live, the computers are running=20 live.<BR><BR>KINGSMILL: Do you worry much about those mistakes when they =

happen?<BR><BR>HUTTER: Uh, no, but there's always a risk of total = failure then=20 we would<BR>have to stop, out, and have to make a short speech, re-load, = and=20 start<BR>again.<BR><BR>KINGSMILL: Is this part of a, resurrection if you = like of=20 Kraftwerk? You've<BR>been very quiet for, you know, the last fifteen=20 years.<BR><BR>HUTTER: Yes, we have been working in our studio, doing all = our=20 very very<BR>old, from the late 60s, early 70s, the analogue tapes, we = have=20 transferred<BR>it onto digital format, so we put a lot of work on our = old=20 Kraftwerk<BR>original sounds. Also now we have been doing re-masterings, = which=20 will<BR>probably come out later this year, and we have been doing all = these=20 sound<BR>files, to perform with the original Kraftwerk sounds, live, and = working=20 on<BR>those. <BR><BR>KINGSMILL: Mmm. A lot of artists like to move on. = They=20 don't tend to like a<BR>lot of their early work, do you enjoy listening = back to=20 what you created all<BR>those years ago?<BR><BR>HUTTER: Yeah, well we = don't=20 listen so much but we have been working in<BR>transferring the sounds, = and now=20 putting them forward into our live<BR>performance.<BR><BR>KINGSMILL: = What about=20 the new music of Kraftwerk, is there much?<BR><BR>HUTTER: Yes, we are = working on=20 different tracks, and when we play some more<BR>concerts on the Big Day = Out=20 festivals, then we fly back into Germany in to<BR>our Kling Klang = studio, and we=20 will continue work on the next album.<BR><BR>KINGSMILL: Which is how = much=20 completed?<BR><BR>HUTTER: Ohff, 99%.<BR><BR>KINGSMILL: That close? How's = it=20 sounding?<BR><BR>HUTTER: Kraftwerk-like.<BR><BR>HUTTER: In Dusseldorf we = work in=20 our Kling Klang studio since 1970, and the<BR>doors are closed, and we = are doing=20 what we have to do. Our work we call<BR>ourselves musik arbeiter,=20 <BR><BR>KINGSMILL: ... which translates as.. <BR><BR>HUTTER: Musical=20 workers<BR><BR>KINGSMILL: uh-huh<BR><BR>HUTTER: ... and that's what we = do.=20 <BR><BR>KINGSMILL: You are very isolated? I have read, no faxes, no = phones,=20 no<BR>contact..<BR><BR>HUTTER: Yes, all this would be=20 disturbing..<BR><BR>KINGSMILL: So you isolate yourself as much as=20 possible?<BR><BR>HUTTER: Yes, for the work, and then we go out again, = and we go=20 to clubs, to<BR>dance, and we travel, we are working on all aspects of = creating=20 Kraftwerk,<BR>that's the one thing we do, we have never been able to do = other=20 things. <BR><BR>KINGSMILL: When you and Florian are working in such an = intense=20 environment<BR>in creating pieces of music which would take.... would = they take=20 maybe years<BR>to create?<BR><BR>HUTTER: Yes, sometimes, and then we put = them=20 away, and listen back again,<BR>and do other things, <BR><BR>KINGSMILL: = ... and=20 then change them slightly..<BR><BR>HUTTER: yes, <BR><BR>KINGSMILL: It = must be=20 very refreshing then to finally get out of the studio<BR>and take it to=20 people..<BR><BR>HUTTER: Definitely, yeah.. Well we... in the first place = we are=20 live<BR>musicians..<BR><BR>KINGSMILL: Mmm, because you and Florian  = met at=20 conservatory..<BR><BR>HUTTER: Yes<BR><BR>KINGSMILL: Was it in Dusseldorf = or=20 Cologne?<BR><BR>HUTTER: Outside of Dusseldorf, there was having some=20 improvisational<BR>courses, so we just hooked up together and did stuff. = '68.=20 And then we<BR>organised a loose collection of musicians, and around = 1970 we=20 built our<BR>Kling Klang studio and Kraftwerk, and from there on we have = been=20 working all<BR>the time, until now.<BR><BR>KINGSMILL: Do you listen to a = lot of=20 other artists for inspiration?<BR><BR>HUTTER: Well we hear music all = around, we=20 hear the sounds of the<BR>environment, we hear the aeroplanes, we hear = the cars,=20 we hear the cities,<BR>we go to clubs, we hear when we are in the = festival, so=20 we are picking up<BR>vibes from over all. Our ears are microphones.=20 <BR><BR>KINGSMILL: Yes. Well reproducing reality is I think ... = (inaudible)=20 years<BR>ago you said , is that still the role for = Kraftwerk?<BR><BR>HUTTER:=20 Yes. Well we take from our experiences, like travelling = through<BR>Europe,=20 that's where Trans Europe Express comes from, Autobahn comes = from<BR>hundreds of=20 thousands of miles on the autobahn...<BR><BR>KINGSMILL: .... and of = course Tour=20 De France..<BR><BR>HUTTER: .. Tour de France comes from our cycling = experience,=20 and we've been,<BR>er, the music has been the official music of the Tour = de=20 France when it came<BR>out.<BR><BR>KINGSMILL: A couple of questions from = people,=20 because there's lots of fans<BR>of Kraftwerk here [at JJJ]. Robbie = wanted me to=20 ask you about when you first<BR>heard Afrika Bambaataa's Planet Rock, = which had=20 heavily sampled your piece<BR>from the 70s...<BR><BR>HUTTER: It's not = sampled,=20 it's replayed.<BR><BR>KINGSMILL: ... replayed with the rappers over the = top of=20 it. How did you<BR>feel when that, that was obviously crossing over into = another=20 generation..<BR><BR>HUTTER: Well, we have been hearing Bambaataa many = years=20 before. Our first<BR>experience was when he was playing Trans Europe = Express and=20 Metal On Metal<BR>on 2 discs in a club, and they were experimenting with = two=20 record players,<BR>and they had two pressings, and so he was doing that, = and=20 from there I knew<BR>there were things going on, and then he did that = rap=20 record, and Trans<BR>Europe Express.<BR><BR>KINGSMILL: Did you find it=20 exciting?<BR><BR>HUTTER: Yes, it's a very, very good record. = <BR><BR>KINGSMILL:=20 Yes, well its just a completely different generation and also<BR>culture = that=20 was picking up on your music. Was that strange for you?<BR><BR>HUTTER: = Er, in a=20 way, not, because we had always been accused of our music<BR>being cold, = and=20 repetitive, and boring and very machinistic, and we always<BR>found = there was=20 soul in the machines, and then one day when these records<BR>came out it = was=20 proven that there is soul to the sequencers of Kraftwerk. = <BR><BR>KINGSMILL: And=20 another question, just to sort of wind up.. the future is<BR>something = which=20 Craig who works here wanted me to ask you about. When you<BR>were = little, when=20 you were young, did you think much about the future?<BR><BR>HUTTER: = Maybe we=20 thought more about the present, because living in Germany<BR>we were the = first=20 post-war generation, and so there was a cultural<BR>emptiness, which we=20 discovered at puberty, and in the first place there was<BR>a little = culture=20 shock, living in this total emptiness, but from there on it<BR>was an = enormous=20 chance, so we could make it up, we made up our own living<BR>culture, = everyday=20 culture, we call eitaks kutuur, and that was a very big<BR>chance. There = was no=20 big entertainment scene, or musical scene, of course<BR>there was the = classical=20 music from way back the 19th century, and there was<BR>a electronic = music scene=20 around the radio stations, maybe those combinations<BR>of situation = inspired us=20 to make up our own music. Everyday electronics. <BR><BR>KINGSMILL: Yeah, = well=20 there was scene coming up, but it was a rebuilding<BR>wasn't it? Of = culture, and=20 of ideas?<BR>It must have been very exciting.<BR><BR>HUTTER: Yes, it was = an=20 enormous chance in those days.<BR><BR>KINGSMILL: Do you think much about = the=20 future now. There's been so much<BR>that's happened in  20 years, = what do=20 you think is going to happen in the<BR>next 20 years?<BR><BR>HUTTER: Oh = we have=20 to see, be awake, and keep your eyes and ears open, and<BR>we'll=20 see.<BR><BR>Transcribed by Peter Page</DIV></BODY></HTML>

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Message: 2 From: "Chris Storey" <chrisstorey@iprimus.com.au> To: <kraftwerk@mailman.xmission.com> Date: Mon, 24 Feb 2003 23:48:31 +1100 Subject: [Kraftwerk] DV to SVCD Reply-To: kraftwerk@mailman.xmission.com

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I have this Big Day Out TV show with Kraftwerk and I can't get the = software to record the audio, so would someone on the list like to have = a go at transferring from Digital Video Tape to SVCD for me and others = who want a copy.

Cheers Chris....

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3DContent-Type content=3D"text/html; = charset=3Diso-8859-1"> <META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D#ffffff> <DIV><FONT face=3DArial size=3D2>I have this Big Day Out TV show with = Kraftwerk and=20 I can't get the software to record the audio, so would someone on the = list like=20 to have a go at transferring from Digital Video Tape to SVCD for me and = others=20 who want a copy.</FONT></DIV> <DIV><FONT face=3DArial size=3D2></FONT> </DIV> <DIV><FONT face=3DArial size=3D2>Cheers</FONT></DIV> <DIV><FONT face=3DArial size=3D2>Chris....</FONT></DIV> <DIV><FONT face=3DArial size=3D2></FONT> </DIV></BODY></HTML>

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Message: 3 From: "Toby Frith" <toby.frith@telegraph.co.uk> To: <kraftwerk@mailman.xmission.com> Date: Mon, 24 Feb 2003 12:49:15 -0000 Organization: Telegraph Group Limited Subject: [Kraftwerk] Opinions on next LP theme - speculation Reply-To: kraftwerk@mailman.xmission.com

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IF and when Kraftwerk bring out a new LP, what do listmembers think the = "theme" will be about?=20

"expo 2000" was quite ephemeral in its "global village" concept - will = it be along the same lines?

www.bleep43.com

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3DContent-Type content=3D"text/html; = charset=3Diso-8859-1"> <META content=3D"MSHTML 5.50.4807.2300" name=3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D#ffffff> <DIV><FONT face=3DCourier size=3D2>IF and when Kraftwerk bring out a new = LP, what do=20 listmembers think the "theme" will be about? </FONT></DIV> <DIV><FONT face=3DCourier size=3D2></FONT> </DIV> <DIV><FONT face=3DCourier size=3D2>"expo 2000" was quite ephemeral in = its "global=20 village" concept - will it be along the same lines?</FONT></DIV> <DIV><FONT face=3DCourier size=3D2></FONT> </DIV> <DIV><FONT face=3DCourier size=3D2></FONT> </DIV> <DIV><FONT face=3DCourier size=3D2><A=20 href=3D"http://www.bleep43.com">www.bleep43.com</A></FONT></DIV> <DIV><FONT face=3DCourier size=3D2></FONT> </DIV> <DIV> </DIV></BODY></HTML>

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