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DISCID=510a0407
DTITLE=Kraftwerk / Trans-Europe Express
DYEAR=1977
DGENRE=Electronic
TTITLE0=Europe Endless
TTITLE1=The Hall Of Mirrors
TTITLE2=Showroom Dummies
TTITLE3=Trans-Europe Express
TTITLE4=Metal On Metal
TTITLE5=Franz Schubert
TTITLE6=Endless Endless
EXTD=Originally Released 1977\nCD Edition Released September 26, 1995\n
EXTD=\nAMG EXPERT REVIEW: Although Autobahn was a left-field masterpie
EXTD=ce, Trans-Europe Express is often cited as perhaps the archetypal
EXTD= (and most accessible) Kraftwerk album. Melodic themes are repeat
EXTD=ed often and occasionally interwoven over deliberate, chugging be
EXTD=ats, sometimes with manipulated vocals; the effect is mechanical 
EXTD=yet hypnotic. Thematically, the record feels like parts of two di
EXTD=fferent concept albums: one a meditation on the disparities betwe
EXTD=en reality and image ("Hall of Mirrors" and "Showroom Dummies" sh
EXTD=are recurring images of glass, reflection, illusion, and confused
EXTD= identities, as well as whimsical melodies), and the other the gl
EXTD=orification of Europe. There is an impressive composition paying 
EXTD=homage to "Franz Schubert," but the real meat of this approach is
EXTD= contained in the opening love letter, "Europe Endless," and the 
EXTD=epic title track, which shares themes and lyrics with the followi
EXTD=ng track, "Metal on Metal." The song "Trans-Europe Express" is si
EXTD=milar in concept to "Autobahn," as it mimics the swaying motion a
EXTD=nd insistent drive of a cross-continent train trip. What ultimate
EXTD=ly holds the album together, though, is the music, which is more 
EXTD=consistently memorable even than that on Autobahn. Overall, Trans
EXTD=-Europe Express offers the best blend of minimalism, mechanized r
EXTD=hythms, and crafted, catchy melodies in the group's catalog; henc
EXTD=eforth, their music would take on more danceable qualities only h
EXTD=inted at here (although the title cut provided the basis for Afri
EXTD=ka Bambaataa's enormously important dancefloor smash "Planet Rock
EXTD=").  -- Steve Huey \n\nAmazon.com Editorial Review\nIt's ironic t
EXTD=hat electronica's forefathers include two German bands whom, at l
EXTD=east on the surface, were polar opposites. On the one hand, there
EXTD= was Can--shaggy, Stockhausen-trained advocates of trance improvi
EXTD=sation--and on the other, Kraftwerk: clean-cut control freaks and
EXTD= masters of the pristine machine groove. Yet, even at their most 
EXTD=robotic, Kraftwerk manages to locate the soul of the machine, as 
EXTD=they demonstrate throughout this 1977 outing. Hell, the mannequin
EXTD= manifesto "Showroom Dummies" alone is worth the price of admissi
EXTD=on. For a band so closely tied to technology, it's a testament to
EXTD= Ralf and Florain that their music continues to sound fresh more 
EXTD=than two decades down the autobahn. --Bill Forman \n\n\nAMAZON.CO
EXTD=M CUSTOMER REVIEW\nEuropean History Lesson, November 9, 2006\nRev
EXTD=iewer: Josephll "Feeling The Groove" (CET)\nKraftwerk gave the wo
EXTD=rld the landmark of Electro with "Autobahn" in 1974, an classic t
EXTD=hat founded a new genre and helped envolve others like Hip Hop, S
EXTD=ynth Pop and Techno also. It was one of the most important albums
EXTD= in history. A few years later came the unpenetratable "Radio Act
EXTD=ivity" that perhaps is the least popular Kraftwerk album. It was 
EXTD=after that album that Ralf, Florian and co. realized that they ne
EXTD=eded something that could be original but work commercial music a
EXTD=lso. "Trans-Europe Express" is produced in a way that it's more a
EXTD=ccessable then previous albums, more structured with meliodic bea
EXTD=ts that comes back many times and hooks that are memorable, it's 
EXTD=once again a concept or suite album, considering that it starts a
EXTD=nd finnish in the same way. For the first time you can truly say 
EXTD=that they merged Electro and Pop into one project. No wonder this
EXTD= album is ragarded as one of their best and frequently feautured 
EXTD=on top lists for greatest all time albums. \n\nFirst song "Europe
EXTD= Endless" is a one of their best. It's a meliodic song celebratin
EXTD=g european culture and unity. Considering this was in the 70's th
EXTD=e European Unity wasn't as strong as today and celebrating cultur
EXTD=al unity was not so common. Although over 9 minutues, it's both m
EXTD=eliodic and very accessable with a killer melody. "The Hall of Mi
EXTD=rrors" is one of the most sampled Kraftwerk songs, it was frequen
EXTD=tly used in the breakbeat early 80's. It's a melancholy slow pace
EXTD=d song that is quite depressing. I guess it's about a man that re
EXTD=alize he is not what he wanted to be. "Showroom Dummies" is a mel
EXTD=iodic song better suited for their next album "The Man-Machine" t
EXTD=hat deals more with robots. This song doesn't really have a theme
EXTD= but it's good nonetheless. The title track is one of the finest 
EXTD=songs in the Kraftwerk catalogue, It's this album's answer to "Au
EXTD=tobahn" but this time around they are imitating the sounds of a t
EXTD=rain, once again about European Unity as they travel around the c
EXTD=ontinent and talks about diffrent parts. The result is astounding
EXTD=. Africa Bambaataa would later sample this song for "Planet Rock"
EXTD=, thus the link between Hip Hop and Electro. Next song "Metal on 
EXTD=Metal" picks up where the title track left us and it's clear by n
EXTD=ow that this is a concept album about shared European History and
EXTD= Culture. "Franz Schubert" has the same melody as the opener and 
EXTD=is a celebration to the classical Austrian composer. Closer "Endl
EXTD=ess, Endless" is basically the same, only that there is a robotic
EXTD= voice repeating endless, but this song is barely a minute. \n\nO
EXTD=verall, A classic album that would have an unexpected influence o
EXTD=n latter music. Perhaps their best album overall, considering tha
EXTD=t all of the songs feel more structured and part of the same suit
EXTD=e. It's also very accesable with great melodies and hooks that of
EXTD=ten are repeated. If you are new to the band, perhaps this is the
EXTD= first album to start with. If you are further interested check o
EXTD=ut "Autobahn" from 1974 or the upcoming "The Man-Machine". Everyt
EXTD=hing less then 5 stars rating on this album is theft.\n\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nA relic for completists, November 19, 2005\n
EXTD=Reviewer: Karl Gyllstrom\n\nIf you weren't a fan of Kraftwerk in 
EXTD=their time (which is probably why you're reading these reviews), 
EXTD=you'll probably only find this album interesting within a histori
EXTD=cal context. It was indisputibly ahead of its time; the problem i
EXTD=s, the time it was ahead of has since come to pass. Revisiting ol
EXTD=der albeit groundbreaking albums is especially problematic within
EXTD= the electronic genre, where technology plays such a large role i
EXTD=n shaping the sound, as the older material sounds very immature a
EXTD=nd unrefined compared to today's artists. There have been several
EXTD= generations of technical and artistic progress since this album 
EXTD=by countless artists who are far more relevant today than Kraftwe
EXTD=rk. It isn't a slight to Kraftwerk, just an acknowledgement that 
EXTD=time inevitably replaces the old with the new. As such, I feel to
EXTD=ward this album as I feel toward the original typewriter: that it
EXTD= is a work of genius from a bygone era.\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nPioneering old-school electronica, October 7, 2005\nRevie
EXTD=wer: Jason R. Conger (Tampa, FL USA) \n\nOn a historical level, T
EXTD=rans-Europe Express is the Sgt. Pepper of techno music. There are
EXTD= better techno albums; surely Moby's Everything is Wrong and Chem
EXTD=ical Brothers' Dig Your Own Hole are more consistent and hypnotic
EXTD=. But when it comes to pioneering old-school trance music, this i
EXTD=s the granddaddy of them all. If you like fast-paced hardcore tec
EXTD=hno only, then this is not the album for you. If you want to open
EXTD= your mind to German "teutronic" trance, this is the place to sta
EXTD=rt. I give it four stars because all the songs are good, but only
EXTD= two are groundbreaking: "Hall of Mirrors" and "Metal on Metal". 
EXTD="Hall of Mirrors" is a hypnotic walk into the pitfall of insecuri
EXTD=ty and vanity. The "clank,clank" noise of a person walking is a b
EXTD=rilliant touch; it adds to the chill and imagery of the song. "Ev
EXTD=en the greatest stars/live their lives in the looking glass" is a
EXTD= disturbing lyric that sends shivers down my spine. At first, "Me
EXTD=tal on Metal" sounds annoying; the "clank,boom,boom,clank" sound 
EXTD=is a little much. But through repetitive plays, this song sounds 
EXTD=original and fresh. It remains a tour-de-force of experimentation
EXTD= and intensity. Overall, though, I believe the album is slightly 
EXTD=overrated.\n\n\nAMAZON.COM CUSTOMER REVIEW\nInconsistent, Novembe
EXTD=r 1, 2004\nReviewer: unmeel (Edison)\nIf the whole album was writ
EXTD=ten in the vein of the brilliant "Europe Endless", then perhaps i
EXTD=t would be the classic it's widely acclaimed as. The opening trac
EXTD=k is a triumph of minimalist electronica with some lovely melodie
EXTD=s romping around while the rhythm does the heavy lifting. "Hall o
EXTD=f Mirrors", on the other hand, is bad. Apparently Kraftwerk feels
EXTD= the need to say the line "Even the greatest stars discover thems
EXTD=elves in the looking glass" again and again for 7 minutes to enli
EXTD=ghten us, over a minimal backing that quickly gets old. "Showroom
EXTD= Dummies" works a lot better, with an interesting skittering, rob
EXTD=otic beat. "Trans-Europe Express" and "Metal on Metal" are basica
EXTD=lly two halves to a whole. That whole is pretty intriguing but dr
EXTD=ags at points. "Franz Schubert" is the best song on the album aft
EXTD=er the opening piece, being more lovely electronica with a fuller
EXTD= sound. The ending track works decently as a closer- its only 58 
EXTD=seconds long, anyway. \n\nClassic status? To my ears, no. Perhaps
EXTD= influential, although I'm not so sure about that either. Still, 
EXTD=worth it if only for "Europe Endless", a 9-minute gem.\n\n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nA Bit Of Balance, September 19, 2003\nRevi
EXTD=ewer: Pen Name "2baz" (Ireland)\nI feel like I've stumbled into a
EXTD= Kraftwerk fan convention here, and a bit of balance is needed su
EXTD=rely? 'Trans-Europe Express' and 'Metal on Metal' are magnificent
EXTD= shards of minimalist beauty, and rightly hailed by others on her
EXTD=e. However, 'Europe Endless' is a meandering noodle at best, and 
EXTD='Hall Of Mirrors' is bilge beyond articulation - cultural comment
EXTD=ary for those who don't know whether commentary has one m or two.
EXTD= 'Franz Schubert' has a kind of rococo irony in the midst of the 
EXTD=other steely musical structures in which it is placed, and raises
EXTD= a wry smile - it being the culmination of the trans-European "jo
EXTD=urney". But let's get real here people, the only tracks even appr
EXTD=oaching necessity are the central high-points of 'TEE' and 'Metal
EXTD= On Metal'. The rest are entirely surplus to requirements. It sho
EXTD=uld be noted too that this is not the only Kraftwerk album to suf
EXTD=fer the same malaise! It might even be argued that the central tr
EXTD=acks are good enough to warrant purchase of this album, but I ass
EXTD=ure you you'll be programming your CD player to skip the rest.\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nEndless, Endless, July 11, 2002\nRe
EXTD=viewer: "woofskin" (Melbourne, Australia.)\nMy first exposure to 
EXTD=this band was this album, and via the track, "Europe Endless". I 
EXTD=recall saying to myself "if i hear that chord progression once mo
EXTD=re..........." that was back in 1983. It took a bit of time, but 
EXTD=finally I understood what Kraftwerk were telling me. Music should
EXTD= flow seamlessly, trance like, with no sudden bumps in the road, 
EXTD=and this is what it delivers. From the foundations of rythm, or t
EXTD=exture, they slowly build, gradually adding more, then slowly str
EXTD=ipping down, to finally arrive where they began.\nThis album open
EXTD=s with the beautiful "Europe Endless", this sets the scene for th
EXTD=e later half of the album. Next it moves into two fairly straight
EXTD= foward pop tunes, one of which is the classic "Showroom Dummies"
EXTD=.\n\nFrom here Kraftwerk now make their point, "Trans-Europe Expr
EXTD=ess", is an epic track that chuggs along like a train. Travelling
EXTD= smoothly, no detours, no seams, just as music should be in the l
EXTD=and of Kraftwerk. "Metal On Metal" arrives, and proves that there
EXTD= is a place for industrial noises in pop with its banging of rubb
EXTD=ish cans, and metal precussion. The album then comes to a close j
EXTD=ust were it began, with "Franz Schubert" and a reprise of "Europe
EXTD= Endless", "Endless Endless". Kraftwerk leave you just were you b
EXTD=egan.\nMany have claimed that Kraftwerk invented hip-hop, electro
EXTD=nic pop, and trance. Whatever the case, Kraftwerk are still about
EXTD=, and leave all these trends in there wake.\n\n\nHalf.com Details
EXTD= \nProducer: Florian Schneider, Ralf Hutter \n\nAlbum Notes\nKraf
EXTD=twerk: Florian Schneider, Ralf Hutter (vocals, synthesizer); Karl
EXTD= Bartos, Wolfgang Flur (electronic percussion).\n\nKraftwerk reac
EXTD=hed a creative peak on this 1977 masterpiece, whose second side w
EXTD=as entirely devoted to a breathtaking aural recreation of an inte
EXTD=rcontinental train journey. The first side featured the shimmerin
EXTD=g beauty of "Europe Endless" alongside the eerie, dislocated voca
EXTD=ls of "The Hall of Mirrors" and "Showroom Dummies," the latter tr
EXTD=ack demonstrating the band's often unappreciated sly humour. Repr
EXTD=esenting one of the pinnacles of 70s electronic music, it was a n
EXTD=otable irony that the expressionless and mechanistic Kraftwerk we
EXTD=nt on to become, via Afrika Bambaataa's sampling of "Trans-Europe
EXTD= Express" on his seminal "Planet Rock" single, one of the early p
EXTD=ioneers of dance music.\n\nIndustry Reviews\nIncluded in Vibe's 1
EXTD=00 Essential Albums of the 20th Century\nVibe (12/01/1999)\n\n4 S
EXTD=tars - Excellent - ...changed the face of American dance music...
EXTD=one of the most compelling beats of this or any other era...\nQ (
EXTD=10/01/1995)\n\n5 stars out of 5 - ...They changed pop music forev
EXTD=er....Conceptually, Kraftwerk were as prophetic as Orwell...\nRol
EXTD=ling Stone (11/14/2002)\n\n\nROLLING STONE REVIEW\nWith their 197
EXTD=4 international smash hit "Autobahn," Kraftwerk had coolly demons
EXTD=trated that an experimental electronic group from Dusseldorf, Ger
EXTD=many, could kick out perfect pop on par with anything by the Beac
EXTD=h Boys. In fact, Ralf Hutter and Florian Schneider, the band's cr
EXTD=eative nucleus, were huge fans of Brian Wilson and loads of other
EXTD= American music. But with Trans-Europe Express, they set out to r
EXTD=einvent a different legend: that of Europa itself. In the process
EXTD=, they changed pop music forever.\nIn 1976, as the group was begi
EXTD=nning work on the album, a friend casually remarked that its musi
EXTD=c was like "electronic blues," and suggested it do a song about t
EXTD=he Trans-Europe Express. Kraftwerk structured the album around th
EXTD=e concept of a train moving across a continent that was rapidly b
EXTD=ecoming borderless and digital. The album glimmers into motion wi
EXTD=th "Europe Endless," a flowing, glowing hymn to the "real life an
EXTD=d postcard views" of the Old World. The beats are crisp, the synt
EXTD=hs lush and percussive, and the track shines like a pre-emptive e
EXTD=legy for history as we know it. The eerie "Showroom Dummies" is b
EXTD=oth richly melodic and formally fresh; the tune is driven by a cy
EXTD=bernetic hand-clap sound that's heavier than most Zeppelin riffs.
EXTD= When the infamous, haunting melody of the title track segues int
EXTD=o "Metal on Metal," you hear the clacking sound of a train, which
EXTD= morphs into a Morse-code synth riff before the song returns to t
EXTD=he original angst-ridden motif. Conceptually, Kraftwerk were as p
EXTD=rophetic as Orwell; musically, they helped jump-start hip-hop wit
EXTD=h an electro shock and set the stage for techno, especially after
EXTD= Afrika Bambaataa borrowed the melody of "Trans-Europe Express" f
EXTD=or his 1982 smash, "Planet Rock." One of their inheritors, techno
EXTD= king Carl Craig, probably said it best: "They were so stiff they
EXTD= were funky."  (RS 909 ' November 14, 2002)  --  PAT BLASHILL
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