You know when you think you are the only one who knows or loves a particular record or band and then all of a sudden you find out someone else feels the same? And that’s sort of a good thing for a while until there’s someone else. And then another person. And another… And all of a sudden it’s not yours any more
Much of my vinyl attic “archive” (as I never refer to it) is made up of 12” singles. I think the first one I ever bought was Thompson Twins’ King For a Day picture disc, sadly no longer in my possession and probably thrown out when my sense of undergraduate post-modern irony was underdeveloped. Which makes me wonder what that Rick Astley one is still doing in there…? And that’s where my problem lies… Continue reading
Up until 1991, my experience of Kraftwerk had been regularly hearing The Model on the radio and (oddly) an edit of Autobahn on a Reader’s Digest compilation tape my Dad kept in his car.
The release of The Mix in 1991 changed all that. After a 5 year hiatus, during which Kraftwerk pretty much kept themselves to themselves, the release of The Mix was supposed to reassure the public that Kraftwerk were still active.
The album met with a mixed reception, mainly due to the lack of new material as it had been positioned as not-a-greatest-hits-compilation (which of course, it sort of is). Others pointed out the sterile sound, a problem more to do with Kraftwerk’s adoption of the fledgling digital technology of the time.
Nevertheless Kraftwerk saw it as an evolution of their work as they moved their Kling Klang studios into the digital age and The Mix demonstrated “where they were at” (or something).