Kraftwerk Bilder Sammlung

[Anonymous]

Ja, die Website wurde seitens der Betreiber eingestellt. Der gepostete Link führt zum Web-Archiv. Ich habe die Website aber als Daten-CD hier bei mir.

 

[Mdxl8338]

Egal wieviel Fotos existieren: Man macht sich ein Bild.

 

[Mdxl8338]

Anbei ist die Konzertbewertung aus DENVER, COLORADO - USA vom 24.09.2015 auf "westword.com" von Tom Murphy:

KRAFWERK HAS THE MOST VISUALLY COMPELLING SHOW IN POPULAR MUSIC

Last night in Denver, using the modern methods of 3D video seen to great effect in recent movies like Mad Max: Fury Road and Captain America: The Winter Soldier, Kraftwerk turned what were already interesting visuals perfectly suited to each song into something almost interactive and unlike anything any other popular band is doing. Figures seemed to reach out, to jut forward, to fly toward you. The UFO during “Spacelab” felt like it was landing among us.

At times, the screen seemed to sit in space with a physical presence. At other times, it visually sat back behind the band. Sometimes, it did both. The use of negative space as a visual effect gave the whole array of visuals a fascinatingly dynamic dimension.

Even if you took off the provided 3D glasses in the customer Kraftwerk paper sleeve, the visuals weren't lacking. No photograph of the show could possibly convey the environmental, engulfing feel of the visuals alongside the music heard on a concert P.A. The low end was so strong and present it felt like seeing some big electronic dance show in terms of the physical impact of the sound.
The four members of the band looked like they walked off the set of the 1982 science fiction film Tron, with lines on their outfits that reflected the colored lights at any given point.

Many of the visuals looked like what you might see on the Minimum Maximum DVD, but Kraftwerk had some customized specials in store for us. During “Spacelab” the satellite seen from the space lab displayed a geological map of the earth where a location icon sat on the location of Denver just east of the Rocky Mountains, and later, when the UFO landed on screen, it landed at the intersection of 14th Avenue and Curtis St.. Not long after during “Neon Lights” several neon signs drifted by including a green cross — not something you see in every state in the U.S.A..

Of course after the set proper ended, the robots came on for “The Robots,” but this time the robots danced in gestures of seeming supplication at first and then more animatedly. Each of the robots got some 3D screen time and seemed to reach out over the audience.

What was less expected, assuming you didn't check out information from previous shows on the tour, was the encore after “The Robots” with the actual band performing material from the later albums and proving how the newer songs showed the real growth of Kraftwerk beyond its classic songs and its embrace of new musical technologies and ideas while influencing the development of both. Was it meta? Isn't that what Kraftwerk has been trading in just a little bit, albeit playfully, all along? Either way, the show visually and musically stood a head above almost any other live show going.

Setlist

1. “Numbers” / “Computer World”
2. “Computer Love”
3. “It's More Fun to Compute” / “Home Computer”
4. “Pocket Calculator”
5. “The Man Machine”
6. “Spacelab”
7. “The Model”
8. “Neon Lights”
9. “Autobahn”
10. “Airwaves”
11. “The Voice of Energy”
12. “Radioactivity”
13. “Tour De France”
14. “Trans Europa Express” / “Metal On Metal” / “Abzug”

Encore

15. “The Robots”

Encore 2

16. “Aéro Dynamik”
17. “Planet of Visions”
18. “Boing Boom Tschak” / “Techno Pop” / “Musique Non Stop”

 

[Mdxl8338]

"Kraftwerk" vor langer Zeit im Magazin:

 

[Anonymous]

wenn ich da in den schritt kucke... aua

 

[Mdxl8338]

 

[fanwander]

Konzertbesprechung aus den USA:

A good friend surprised me by inviting me to one of the 2014 3D shows at the Walt Disney Concert Hall. We caught the Tour De France show which, while not my favorite Kraftwerk album, was still excellent, especially since the 2nd half of the show was more of a "best of" setlist. The visual were interesting, but since their stage presence has never been a selling point, I enjoyed closing my eyes for much of the show to really take in the music.

I was surprised how good their music sounded in a space that was specifically designed for orchestral music, but I guess really good acoustics translate well to many styles of music. It was a far cry from the 1998 show at the Hollywood Palladium which was wonderfully loud, deeply sweaty, and just generally messy (sound quality, lighting and all). There was even a brawl near us at one point. Who gets into a brawl at a Kraftwerk show?!

> Who gets into a brawl at a Kraftwerk show?!
clearly a smd versus thru hole dispute...

 

[monoklinke]

Hier gibt es viel Material:
http://www.djfood.org/?s=kraftwerk&x=0&y=0

 

[Anonymous]

Hier gibt es viel Material:
http://www.djfood.org/?s=kraftwerk&x=0&y=0

[ http://www.djfood.org/wp-content/uploads/2012/02/Robots-animated-.gif (•BILDLINK) ]

auch hier waren kraftwerk zukunftsweisend. musik machen ohne die instrumente zu berühren.

 

[mookie]

Hier gibt es viel Material:
http://www.djfood.org/?s=kraftwerk&x=0&y=0

[ http://www.djfood.org/wp-content/uploads/2012/02/Robots-animated-.gif (•BILDLINK) ]

auch hier waren kraftwerk zukunftsweisend. musik machen ohne die instrumente zu berühren.

Auch hier wieder ganz klar erkennbar, Kraftwerk haben Musik, Instrumente und Berühren erfunden.

 

[ppg360]

Sehr schön zu sehen: Weißer ARP Odyssey und weißes Compact Phasing A.

Von solchen Kraftwerk-Konzerten träume ich kurioserweise manchmal.

Stephen

 

[Mdxl8338]

Anbei ist auf Wunsch eine weitere Konzertbeurteilung aus "Übersee" von Fish Griwkowsky, "Edmonton Journal"/Kanada, 17.09.2015:

KRAFTWERK BRING SEXY, COOL, DANCEABLE ROBOTICISM TO EDMONTON

NOT SO MUCH A CONCERT AS THE BEST ART SHOW TO EVER COME THROUGH THE JUBILEE AUDITORIUM, KRAFTWERK´S TWO-HOUR CONCERT WAS POLITICAL, BEAUTIFUL AND ULTIMATELY PHILOSOPHICAL.

Using modern stereoscopic cinema technology — 3-D to most of us — the generally stiff quartet of Ralf Hutter, Fritz Hilpert, Henning Schmidt and Falk Grieffenhagen wore skin-tight grid-patterned jumpsuits, standing behind LED-framed pulpits like grim, white judges from Krypton. Behind them, bursting slowly into our faces from a giant movie screen were silver notes, Futurist polygons straight outta Tron, and various representations of transportation propaganda including bicycles, energy-efficient trains and of course Volkswagens, often in primitive graphics circa Dire Straits Money for Nothing.

Kraftwerk opened with Numbers, that first wow moment as the combination of glowing musicians and relentless stereoscopy proved this was going to be a visually stunning night for the 1500 in the soft seats. Computer World was next, the first great mixing of the night’s — and the band’s lifetime — theme: man in concert with machine, from bicycles to cellphones capturing the action to the entire fact of this strange, alluring display of pushing and pulling on the limits of technology. Later on, Computer Love led to the first of many hits, as The Man Machine laid it all out, the band lost in the red projection looking like digital skeletons, which was certainly, like everything, calculated. An early song in Kraftwerk’s career, you can still sense elements of satire with lyrics about Übermensch — genetic supermen — all in red, white and black uniforms, a jab at the ideologies of an earlier Germany and, at the time, the nonsense still going on behind the iron curtain.

Kraftwerk’s great gift was to reclaim this roboticism and make it sexy, cool and danceable.

Next we flew over the Earth in Spacelab, the band doing its version of whipping on an Oilers jersey by showing Edmonton on the big screen as a Google map pin, then landing a flying saucer in front of a photo of the Jubilee Auditorium. They’ll likely do the same thing in Calgary tomorrow, and I suspect the band will appreciate playing Calgary’s carbon copy Jubilee, the two buildings some of the best architecture in the province. Let’s tear it down!

Old footage ran behind the gorgeous The Model, one of the band’s more sexual numbers, then the trippy-hypnotic Neon Lights, 3-D neon signs for euro pharmacies, strip joints and hotels scrolling by.

The first of their transportation songs, the lengthy Autobahn showed a race between a classic Beetle and a Mercedes-Benz, a giant hand adjusting the radio. It was weirdly hypnotizing, like watching someone play Tetris for hours on end. Seriously, try it. A turn off the ausfahrt and we were into some techno, at which point I was going crazy not being able to dance.

Flashing red and yelling, Radioactivity was simply a list of irradiated cities, a grim warning and one of the only Frankenstein moments of the pro-tech evening. But also its scariest and most sci-fi, the band a mournful Japanese chorus. Gorgeous. The Tour de France suite followed, steel calves and quads showing humans as machines of flesh; then, maybe too much vehicle conversation, Trans Europe Express drove trains over our heads. Such a pleasure to be at a show with such great sound. Man, arena concerts ultimately suck.

For the encore, the great philosophical moment: four articulated mannequins à la Bullwinkles slowly moved their arms around for We Are the Robots. Do 16 former members matter to this band? Does it need humans at all? Not at this point, wonderfully terrifying Doctor Who Autons in LED neckties — no longer a live band back looking at the crowd, its uniform 3-D glasses given at the door making us all one matching army of observers. A second encore brought the humans back, including a medley of Boing Boom Tschak, Techno Pop and Musique Non Stop, which ended the night.

Overall, an incredible spectacle, underlined by the ever-more-true fact that as our own genetic evolution is becoming increasingly irrelevant as we evolve through technology, the machines are eventually not going to need us anymore. Well, it was fun while it lasted.

But as Hutter said, walking off the stage: “Good night! Bonsoir! auf Wiedersehen!”

 

[Mdxl8338]

 

[Psychotronic]

So sah das früher aus. Soest - 1970



Ich kann dem sogar sehr viel Schönes abgewinnen.

 

[Mdxl8338]

Für jung und alt:

 

[Mdxl8338]

Für Jung und Alt ist es was und für jeden Ort:

 

[ppg360]

Wer hier Staub aufwirbelt, atmet Geschichte:

http://kunstprodukt.com/elektromueller

Stephen

 

[Zotterl]

Beeindruckend!

 

[Mdxl8338]

Keep Cool! 8)

 

[fanwander]

Für Jung und Alt ist es was und für jeden Ort:
[ http://stuckbetweenstations.org/wp-content/uploads/2014/03/IMG_2479.jpg (•BILDLINK) ]

Ich wusste nicht, dass Widespread Panic eine so grelle Lightshow machen, dass man Sonnenbrillen braucht.

 

[Mdxl8338]

 

[monoklinke]

 

[Anonymous]

 

[Mdxl8338]

"Kraftwerk" machte es "hipp": (Anbei sind einige Beispiele. Es kann ganz "runtergescrollt" werden.)

 

[darsho]

und natürlich :

 

[Mdxl8338]

Nicht nur Michael Jackson, "Falco" und Andrew Fletcher von "Depeche Mode" sowie andere Künstler vieler Richtungen, trugen und tragen diese Kombination:

 

[Anonymous]

Das ist das schlimme an Kraftwerk-Konzerten: Die Leute mit rotem Hemd und schwarzer Krawatte.
Was freu ich mich da wieder drauf am 8. dezember...

 

[Anonymous]

Erwachsene Menschen - peinlich.

 

[darsho]

Nennt man heute glaube ich Cosplay, ist groß im Kommen.

 

[Mdxl8338]

Das ist das schlimme an Kraftwerk-Konzerten: Die Leute mit rotem Hemd und schwarzer Krawatte.
Was freu ich mich da wieder drauf am 8. dezember...

Wenn andere Künstler das übernehmen, liegt es auch daran, dass es grundsätzlich noch zur Mode passt. Aber bei einem Konzert oder auch privat, würde ich das nie tragen, weil ich mich nicht gerne instrumentalisieren lasse und auch keine Litfaßsäule von irgendjemandem bin.