The website crashed, the phones were continually engaged and they queued around the block. Some were lucky, some were not but at 5.45pm a Tate statement said: “All tickets to Kraftwerk – The Catalogue 1 2 3 4 5 6 7 8
have now sold out. We appreciate that many people experienced difficulties in purchasing tickets today – this was due to the unprecedented levels of demand for such a
unique series of performances.”
Personally I didn’t bother because quite simply it was over my 15 quid a concert ticket ceiling. Add this to my won’t pay over two quid for a pint and won’t pay more than ten quid to watch a football match then it can be seen I don’t get out much!
Will Kraftwerk be worth it? I think you can bet your bottom dollar (or £60) they will. If you’re going enjoy. If not just shove the records on, crack open the German beers and read what Tate Modern has to say: “German electronic music pioneers Kraftwerk play eight live performances in Tate Modern’s Turbine Hall in their first London dates since 2004.
KRAFTWERK – THE CATALOGUE 1 2 3 4 5 6 7 8 is a chronological exploration of the group’s sonic and visual experiments and presents eight classic master works from across their celebrated repertoire with spectacular 3D visualisations and effects.
Combining sound and images, the performances showcase nearly 40 years of musical and technical innovation, including new improvisations, 3D projections and animation.
Commencing with Autobahn, each night covers one of Kraftwerk’s groundbreaking studio albums in full and appear in order of their release —
Autobahn (1974), Radio-Activity (1975), Trans-Europe Express (1977), The Man-Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991) and Tour de France (2003) — alongside additional compositions from their back-
Ralf Hütter and Florian Schneider began the Kraftwerk project in 1970 at their electronic Kling Klang Studio in Düsseldorf, Germany. Within a few years they had achieved international recognition for their revolutionary electro “sound paintings” and musical experimentation with tapes and synthesizers. With their visions of the future they created the soundtrack for the digital age. Their compositions, using innovative looping techniques and computerised rhythms, have had a major international influence across a range of music genres. Their use of robotics and other technical innovations in live performance illustrates Kraftwerk’s belief in the respective contributions of both man and machine in
The performances have been curated by Klaus Biesenbach, Chief Curator at Large, The Museum of Modern Art, Art, Marion Ackermann, Artistic
Director, Kunstsammlung Nordrhein-Westfalen and Catherine Wood, Curator (Contemporary Art & Performance).
Tate Modern Programme
Wednesday 6 February 2013, 21:00
1 – Autobahn (1974)
Thursday 7 February 2013, 21:00
2 – Radio-Activity (1975)
Friday 8 February 2013, 22:30
3 – Trans Europe Express (1977)
Saturday 9 February 2013, 22:30
4 – The Man-Machine (1978)
Monday 11 February 2013, 21:00
5 – Computer World (1981)
Tuesday 12 February 2013, 21:00
6 – Techno Pop (1986)
Wednesday 13 February 2013, 21:00
7 – The Mix (1991)
Thursday 14 February 2013, 21:00
8 – Tour de France (2003)
Image courtesy Kraftwerk images.