Rob Sheffield remembers Florian Schneider, the late Kraftwerk synth wizard who rewired the world
Kraftwerk pioneered the idea of a synthesizer group that didn’t pretend to be anything else, challenging the boundaries between organic and artificial sounds. As Schneider said in“We don’t make a distinction between an acoustic instrument as a source of sound and any sound in the air outside or on a manufactured tape. It’s all electric energy, anyway.” They had the air of artists born into a history they rejected, building a musical world where they could be permanent aliens.
Kraftwerk didn’t really fit anywhere in rock music or its audience — that’s why the music has that sense of never settling into a home. As Hütter toldin 2009, “After the war, when we were born, we are a type of zero generation. We had this old culture, the German classical music background, and then of course from radio the rock & roll, American contemporary music … but we had to make our own. And at first it was a shock.
Like many American kids, I first heard Kraftwerk via Afrika Bambaataa’s “Planet Rock,” when it started blasting out of boomboxes on Eighties subway trains. Their influence dominated the Eighties: hip-hop DJs searching for the perfect beat, New Romantic synth geeks like Depeche Mode and Duran Duran , punk cranks like Big Black, Detroit techno pioneers like Juan Atkins and Derrick May.
David Bowie was just one of many people whose musical ideas got blown sky-high by hearing Kraftwerk. He played“Heroes” with the excellent tribute “V-2 Schneider,” a cheeky reference to the Wernher Von Braun rockets that devastated the London that Bowie was born into. In a tip of the cap to Schneider’s past as a woodwinds man, Bowie chose “V-2 Schneider” to honk away on his beloved saxophone.is their most famous album — a futuristic metal-on-metal train ride, with Bowie and Iggy Pop on board. Yet some of us love
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