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DISCID=3e088106
DTITLE=Kraftwerk / The Man Machine
DYEAR=1978
DGENRE=Electronic
TTITLE0=The Robots
TTITLE1=Spacelab
TTITLE2=Metropolis
TTITLE3=The Model
TTITLE4=Neon Lights
TTITLE5=The Man Machine
EXTD=Originally Released 1978\nCD Edition Released September 26, 1995\n
EXTD=\nAMG EXPERT REVIEW: The Man-Machine is closer to the sound and s
EXTD=tyle that would define early new wave electro-pop -- less minimal
EXTD=istic in its arrangements and more complex and danceable in its u
EXTD=nderlying rhythms. Like its predecessor, Trans-Europe Express, th
EXTD=ere is the feel of a divided concept album, with some songs devot
EXTD=ed to science fiction-esque links between humans and technology, 
EXTD=often with electronically processed vocals ("The Robots," "Spacel
EXTD=ab," and the title track); others take the glamour of urbanizatio
EXTD=n as their subject ("Neon Lights" and "Metropolis"). Plus, there'
EXTD=s "The Model," a character sketch that falls under the latter cat
EXTD=egory but takes a more cynical view of the title character's glam
EXTD=orous lifestyle. More pop-oriented than any of their previous wor
EXTD=k, the sound of The Man-Machine -- in particular among Kraftwerk'
EXTD=s oeuvre -- had a tremendous impact on the cold, robotic synth po
EXTD=p of artists like Gary Numan, as well as Britain's later new roma
EXTD=ntic movement.  -- Steve Huey\n\nAmazon.com essential recording\n
EXTD=The album on which Kraftwerk got serious about their legacy of fu
EXTD=sing human flesh and the technology it has inspired into an indis
EXTD=tinguishable whole, Man-Machine also ironically embodies some of 
EXTD=the band's most endearing contradictions. The case is stated up f
EXTD=ront with the techno classic "The Robots." The journey continues 
EXTD=to worlds both utopian ("Spacelab") and dystopian ("Metropolis").
EXTD= Then it segues into a bona fide, hook-laden dance track ("The Mo
EXTD=del," perhaps inspired by the club success that Kraftwerk's previ
EXTD=ous album, Trans-Europe Express, experienced at the hands of ente
EXTD=rprising early mixmaster DJs). There's also a downright sentiment
EXTD=al cityscape, "Neon Lights." But lest anyone think that Schneider
EXTD=, Hutter, and company are too human, they wrap up the proceedings
EXTD= with the robotic dance-groove of the title track, inspiring dizz
EXTD=y listeners to ponder: Kraftwerk--men or machines? --Jerry McCull
EXTD=ey \n\n\nAMAZON.COM CUSTOMER REVIEW\nHumans Vs Technology, Novemb
EXTD=er 9, 2006\nReviewer: Josephll "Feeling The Groove" (CET)\nIf it 
EXTD=wasn't enough with the imense impact previous Kraftwerk albums al
EXTD=ready had on modern music, "The Man Machine" from 1978 would cont
EXTD=inue to be a landmark for latter music. It's cold and minimalisti
EXTD=c electro-pop sound would infleunce synth-pop artists like Devo a
EXTD=nd Gary Numan and it would also infleunce New-Romantic artists li
EXTD=ke Duran Duran, Adam Ant and ABC. The album itself is another con
EXTD=cept album but a little divided between two categories. Humans vs
EXTD= Technology and the expanding and highly modern global cities. Th
EXTD=ey now try to imitate the sounds of robots more then ever, with t
EXTD=he music and with appearance, the music is structured and minimal
EXTD=istic and forms a somewhat robotic sound, the songs are also shor
EXTD=ther and more direct, better suited for single-releases. On lives
EXTD=hows they even acted like robots to not break the bubble. The "Ma
EXTD=n-Machine" is cold and robotic yet fascinating and extremly moder
EXTD=n for it's time. For the reviewer that said this is dated, well i
EXTD=t's 28 years old, what do you expect?. Based on the influence it 
EXTD=had for others, it's certainly got something in it's sound that i
EXTD=s still interesting. \n\nOpener "The Robots" actually got 2 versi
EXTD=ons, album and single version. I like the single version better t
EXTD=hat is even more catchy. The song is minimalistic synth pop with 
EXTD=dancable rhythm and beats. It also feautures robotic voices, on t
EXTD=he video for the song that all appear as robots. This song would 
EXTD=also have huge influences for Hip Hop. "Spacelab" deals with new 
EXTD=technology and the never ending fascintaion for space flight. It'
EXTD=s a dreamy and meliodic electro-pop song, once again with robotic
EXTD= voices. The song sounds a little like OMD's 80's songs. "Metropo
EXTD=lis" deals with urbanization and highly modern global cities. In 
EXTD=the late 70's we would see many cities in West Germany building s
EXTD=ky scrapers and becoming global high-tech cities. This song is al
EXTD=so very meliodic with few lyrics and dreamy sound. \n\n"The Model
EXTD=" is the most commercial song ever released by Kraftwerk. It got 
EXTD=well penned lyrics in several verses and deals with the endless g
EXTD=lamour and luxury of a spoiled Model with very cynical lyrics. No
EXTD=t only it was a prety big hit, it would also be the influence for
EXTD= several synth-pop bands in the early 80's like Human League, Tal
EXTD=k Talk and Howard Jones. "Neon-Light" is a wonderful dreamy song 
EXTD=once again about global cities. This is the longest song, close t
EXTD=o 9 minutes. Closer, is the title track that once again deals wit
EXTD=h human and robots. It got a hypnotic beat that later was sampled
EXTD= by quite a few hip hop artists. Robotic voices appear but I have
EXTD= no idea what they say. One of their best nonetheless. \n\nOveral
EXTD=l, Another fantastic album that would be just as influentual as t
EXTD=heir previous album "Trans-Europe Express". Kraftwerk sound is po
EXTD=lished once again and it becomes more simular to the sound that t
EXTD=heir upcoming albums would sound like. Minimalistic synth-pop wit
EXTD=h robotic feautures yet catchy and easily accessable. If you are 
EXTD=new to them start with "Europe" and then this one, they are good 
EXTD=and easy to get into.\n\n\nAMAZON.COM CUSTOMER REVIEW\n"We are pr
EXTD=ogrammed just to do anything you want us too.", June 4, 2005\nRev
EXTD=iewer: The Spastic Fantastic Mighty House Cat "Frosty5" (Waltham,
EXTD= Massachusetts, United States, Planet Earth)\nKraftwerk's 1978 al
EXTD=bum, "The Man Machine" is art. The German electronic quartet of R
EXTD=alf Hutter, Wolfgang Flur, Karl Bartos, and Florian Schneider hav
EXTD=e impressed me with this six-song piece of pleasure. It's materia
EXTD=l like theirs that get me to buy more of their music. All six tra
EXTD=cks are sweet. Track one is "The Robots." This song includes a si
EXTD=nging robot. Just for having robotic vocals (which I can't get en
EXTD=ough of) this automatically becomes an enjoyable tune of mine. I 
EXTD=also like the electric percussion in the song. "Spacelab" is trac
EXTD=k two on the album. It's very mysterious sounding. I feel as if I
EXTD='m in a space station, all alone, lightyears from everything else
EXTD= in the galaxy. Next, there's track three, "Metropolis." It start
EXTD=s out slow with percussion that sounds like drops of water and lo
EXTD=ng notes. The bass comes in and the percussion changes after that
EXTD=. The vocalists sing out "Meeeeetroooooopoliiiiiis" in the song. 
EXTD="The Model, track four, is my favorite song on the CD. It's also 
EXTD=the shortest of all the six tunes found on this disc at 3:42. The
EXTD= song's about a supermodel woman whose beauty and charm led her t
EXTD=o fame and popularity. Track five, "Neon Lights" is nine minutes 
EXTD=long. It's the longest track in the album. The lyrics for the son
EXTD=g are "Neon lights, shimmering neon lights, and at the fall of ni
EXTD=ght, the city's made of light." They're only heard in the first h
EXTD=alf of the song. The second half contains psychadelic sounding sy
EXTD=nthesizers. The final track is "The Man Machine." This track incl
EXTD=udes singing robots, different from "The Robots." This is a very 
EXTD=nice tune, a good song to finish off the album. All six tracks ar
EXTD=e great. This CD has "genius" written all over. I could listen to
EXTD= it the whole way through whenever I'm in the mood, and I get int
EXTD=o that mood quite often. I'm glad there's a music group like this
EXTD=.\n\n\nAMAZON.COM CUSTOMER REVIEW\nOne of Kraftwerk's best, indee
EXTD=d!, December 6, 2002\nReviewer: Israel Casanovas (PPCC)\nDie Mens
EXTD=ch-Maschine is a great conept album based around the interaction 
EXTD=of men with machines. It presents us the technology in 'Die Robot
EXTD=er', then it continues with two alternate futures, or perhaps two
EXTD= sides of the same future... or present: the men taking over in '
EXTD=Spacelab' and the machines being the rulers in 'Metropolis'. Afte
EXTD=r that, they go on with 'Das Modell', one of the few Kraftwerk so
EXTD=ngs with lyrics longer than three or four lines, which narrates a
EXTD= quite clever critic on aesthetical consumerism, and the sentimen
EXTD=tal 'Neonlicht', which, to my ears, talks nostalgically about a n
EXTD=eon-lit cityscape. 'Die Mensch-Maschine' closes with it's title t
EXTD=rack, quite similar to the opening track, which can be interprete
EXTD=d in many ways: from the mechanicalization of human life to the l
EXTD=imited feelings of a robot. Highly recommended, I could dock a st
EXTD=ar for the lenght, which doesn't matter much anyway since the mus
EXTD=ic is truely awesome and short albums are oft less tiresome, and 
EXTD=because it sounds dated, although not in the barely-listenable ei
EXTD=ghties sense. In fact, much of this album's charm is due to its d
EXTD=ated sounds.\n\n\nAMAZON.COM CUSTOMER REVIEW\nElectronic Puberty,
EXTD= January 5, 1999\nReviewer: A music fan\nOn Man Machine, Kraftwer
EXTD=k evolved, which is sad, necessary, and in a way, exhilirating. T
EXTD=hey became self-aware (compare this disc with the purist dweeb ch
EXTD=arm of Radioactivity), but they seemed to handle it allright. MM 
EXTD=has punch in its' bottom and ranges from quite chunky to almost c
EXTD=hill. Never too much, never too little. Very Satisfying.\n\n\nHal
EXTD=f.com Album Notes\nAlthough not drastically different to the exis
EXTD=ting versions, these Australian exclusive tour editions are a lot
EXTD= more attractive. The artwork has been updated to include more ph
EXTD=otographs and images., THE MAN-MACHINE and its predecessor, 1977'
EXTD=s TRANS-EUROPE EXPRESS, deserve their exalted position in the pan
EXTD=theon of modern music, if only for their importance in shaping th
EXTD=e future development of hip-hop and dance music. The concept behi
EXTD=nd The Man-Machine took Kraftwerk's mechanistic vision of humanit
EXTD=y to its logical extreme, but the music within captured the group
EXTD= at their most engagingly melodic. Instantly memorable, "The Mode
EXTD=l" reached number 1 in the UK singles chart three years later, an
EXTD=d proved to be a direct inspiration for the wave of gloomy electr
EXTD=onic bands that quickly followed. However, none of them ever came
EXTD= close to grasping the subtle human touch that lay behind Kraftwe
EXTD=rk's faceless exterior.\n\n\nROLLING STONE REVIEW\nLess than thre
EXTD=e minutes into The Man Machine, an album that faithfully extends 
EXTD=Kraftwerk's unmistakable brand of exquisite torture, this group h
EXTD=as successfully drained the blood from the listener's body and pu
EXTD=mped in the liquid Lysol. With its efficient modern-world toys--s
EXTD=ynthesizers, speech synthesizers, synthesized percussion--Kraftwe
EXTD=rk strikingly creates a sound so antiseptic that germs would die 
EXTD=there. What's more, the band has never been this conceptually stu
EXTD=bborn--even the dreaminess of "Neon Lights" is kept under close s
EXTD=urveillance by the insistent percussion--but, happily and ironica
EXTD=lly, the music gains in power and force because of it.\n\nListeni
EXTD=ng to The Man Machine is like listening to a telegraph: spare mel
EXTD=odies, along with countermelodies, are repeated endlessly. As are
EXTD= the curiously trivial lyrics, usually delivered with the sternne
EXTD=ss of those voices you hear coming from Dictaphone units. It's no
EXTD= understatement to say that "The Robots" and "Metropolis" are pol
EXTD=ar opposites of the German drinking song. Yet, for all its chilli
EXTD=ng restraint and relentless sameness, the compositions here are o
EXTD=ften strangely pleasant in an otherworldly way. Probably because 
EXTD=of Kraftwerk's sheer audacity, the overall effect is simultaneous
EXTD=ly frightening and funny.\n\nAs with Trans-Europe Express, the ne
EXTD=w record has a built-in ambiguity that pretty much accounts for t
EXTD=he group's charm. Though Kraftwerk would seem to worship machines
EXTD=--totally unlike Brian Eno, who, on his brilliant Before and afte
EXTD=r Science, explores their possibilities--the band might actually 
EXTD=be committed humanists, documenting how emotionless the future wi
EXTD=ll be if we continue to cheer such "innovations" as the Chemical 
EXTD=Bank Cash Machine. Maybe. Whatever its stance, Kraftwerk still pa
EXTD=rodies us dumb mortals. Last album's screamingly funny assessment
EXTD= of the disco masses, "Showroom Dummies," has given way to "The M
EXTD=odel": "You can hear them say/She's looking good/For beauty we wi
EXTD=ll pay."\n\nWhat kind of boredom is this? It feels so good when i
EXTD=t starts, and it feels so good when it stops. (RS 265 - May 18, 1
EXTD=978)  -- MITCHELL SCHNEIDER
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