Trans-Europe Express is the 6th album by German electronic artists Kraftwerk. The album touches primarily on the theme of identity, discussing it from the perspectives of personal identity, mostly in the songs “Hall of Mirrors”, and “Showroom Dummies” from the album's first side, and of collective identity, in “Europe Endless” and in the suite that constitutes the album's second side. On the more technical side of things, the album’s musical instrumentation and structure was very influential on many genres of music, including rock, hip-hop, and techno.
Track Breakdown
The opening track of the album is “Europe Endless”, which very quickly establishes one of the major themes of the album, collective identity, particularly a united European identity. In the aftermath of World War II, the German people had to reform their collective identity. Any attempt to form a distinctly Germanic identity was discouraged, as German nationalism had lead to the rise of Naziism. As a result, many worked towards building an identity that was based in a unified Europe. This opening track reflect this, discussing the beauty of Europe as a whole, and mentions aspects which are common amongst European countries, rather than aspects which differentiate them. The song’s sound is one based on the sound of strings and choral voices, which are a common element is European classical music, evoking a distinctly European image.
The next two songs, “Hall of Mirrors” and “Showroom Dummies”, focus more on personal identity, and discuss the process of identity formation, as well as the difference between one’s true self and the image one presents to the world. “Hall of Mirrors” discusses how self-conscious reflection affects the image we present to others as well as the image we have of ourselves. The song posits that this process of identity formation through self-reflection is universal, making the subject of the song a nondescript everyman, and also repeatedly stating that this process applies to “Even the greatest stars…”, clarifying that status, wealth, and fame does not exempt one from this process. The following song, “Showroom Dummies” furthers discusses the difference between image and reality by using mannequins as a symbol for the way in which people present an artificially constructed image of themselves to others (a symbol which is reflected in some of the album's artwork). Mannequins are wholly artificial, and are often featureless so as to allow consumers to picture themselves in the mannequin’s place. This song in this way also references the growing consumerist influence brought to Germany by America after World War II, contributing to the shifting German identity.
The album's second side is made of a suite of five songs. The subject of the suite is the titular Trans-Europe Express, which is viewed as a symbol of the new, united, post-World War II European identity. The train tracks which had been used to being soldiers and supplies to the front, and had assisted in the commission of the Holocaust, were now being used to bring Europe together, rather than splitting it apart. In the title track, the train is discussed as going from Paris to Dusseldorf, linking France and Germany following two wars in which they had fought each other. The song and the two which follow, “Metal on Metal” and “Abzug”, feature mechanical dance beats reminiscent of the sound of a train. This mechanical sound was part of an attempt to create a universal musical culture. Their efforts to create a universal musical culture is also evident by the fact that the album was released in English- and German-language versions, and some of the songs were also recorded with French vocals
The next track is “Franz Schubert”, named for the classical composer. Schubert was a German composer who was considered among the greatest European composers. The song features synthesizers playing classically inspired themes, showing both that these new technologies could participate in the playing of classical music, but also that classical music still had a place despite the presence of these new technologies. The album closes with “Endless Endless”, a reprise of themes from earlier in the album.
Influence
The album would prove to be very influential on several genres of music. The title track describes a meeting Kraftwerk had with David Bowie and Iggy Pop. At the time, Bowie and Pop were based out of Berlin, and were making music inspired by the Krautrock scene, Kraftwerk included. 1977 would find Bowie releasing “Low” and “Heroes”, and Pop would release “The Idiot” and “Lust for Life” (Bowie’s “Heroes” even included a track called “V2 Schneider”, named for Kraftwerk founding member Florian Schneider). These albums are considered to be among their best releases. Later, the album’s title track would be sampled in 1982 on Afrika Bambaataa's classic electro hip-hop track “Planet Rock”, considered a landmark recording for both hip-hop and electronic music. Finally, Kraftwerk’s drum machine based dance beats were later combined with funk music to create a new genre of dance music called Techno. In addition to the music being influential, the images portraying of the band as robots and mannequins would also become influential, most prominently being used to great effect by French house duo Daft Punk.
Questions for Discussion
1) Has the existence of a continental European identity become a reality given the presence of the European Union?
2) Do you think that the constant advances in musical technology (such as the more complex sequencers utilized on Trans-Europe Express) have improved the state of music?
3) Do you think that the synthesizer and other electronic/digital resources have replaced the guitar as the most important instrument in popular music? Do you consider the synthesizer to be an instrument on par with guitars, trumpets, saxophones and so on? Why or why not?
4) Do you think dance music is able to develop and evoke themes as well as non-dance music is able to, or is it inherently less able to perform the role as a conveyor of ideas?
5) Has any group besides the Beatles had a greater influence on popular music than Kraftwerk?
6) Do you consider Kraftwerk to be cool or uncool? Some days I think they're so cool, and some days I think they are the single lamest band of all time.
1) Has the existence of a continental European identity become a reality given the presence of the European Union?
I don't know.
Quote:
2) Do you think that the constant advances in musical technology (such as the more complex sequencers utilized on Trans-Europe Express) have improved the state of music?
Yep.
Quote:
3) Do you think that the synthesizer and other electronic/digital resources have replaced the guitar as the most important instrument in popular music? Do you consider the synthesizer to be an instrument on par with guitars, trumpets, saxophones and so on? Why or why not?
At this point in time? No—but give it enough time and I believe analog will be outright overtaken by electronic instruments. It is the most rational progression to predict. As for do I consider it [the synthesizer] on par with analog instruments like the trumpet or guitar I would say that much is a no brainer; an instrument is no different than a color ready to be put to paper. All instruments are equal.
Quote:
4) Do you think dance music is able to develop and evoke themes as well as non-dance music is able to, or is it inherently less able to perform the role as a conveyor of ideas?
I would say that dance music is able to develop, transcend, and define just as much as non-dance music. There are many records within that scope that have experimented and succeeded where a band described as “progressive” or “abstract” have not. For example, you could argue that the transcendent records from artists such as Michael Jackson, Prince, and James Brown could be described as “dance music” at its roots and these artists were best when they challenged the status quo with interesting new ideas and developments.
Quote:
5) Has any group besides the Beatles had a greater influence on popular music than Kraftwerk?
Definitely not greater, but perhaps on the same level (amusingly so):
6) Do you consider Kraftwerk to be cool or uncool? Some days I think they're so cool, and some days I think they are the single lamest band of all time.
I grew up with Kraftwerk.
As a band they were one of my father’s favorite bands, and often something I experienced through my father’s assorted mixtape collection. When I was in grade school the bands I heard the most at home were mainstays of pop music from the 1950’s and 1960’s, “the nashville sound”, and my father’s mixtapes which contained the quirky and the unknown. One mixtape had Louis Armstrong, a French-Canadian artist I cannot recall the name of, Cab Calloway, Hank Williams, and Kraftwerk. It was a trip that I always found fascinating. It is through that fascination that I can say I found them unique, interesting, and by an adolescent definition very much “cool”. Hell, I didn’t understand what communal hipness was until I was thirteen years old.
Post subject: Re: ADP #9 Trans-Europe Express by Kraftwerk
souplipton wrote:
Questions for Discussion
1) Has the existence of a continental European identity become a reality given the presence of the European Union?
2) Do you think that the constant advances in musical technology (such as the more complex sequencers utilized on Trans-Europe Express) have improved the state of music?
3) Do you think that the synthesizer and other electronic/digital resources have replaced the guitar as the most important instrument in popular music? Do you consider the synthesizer to be an instrument on par with guitars, trumpets, saxophones and so on? Why or why not?
4) Do you think dance music is able to develop and evoke themes as well as non-dance music is able to, or is it inherently less able to perform the role as a conveyor of ideas?
5) Has any group besides the Beatles had a greater influence on popular music than Kraftwerk?
6) Do you consider Kraftwerk to be cool or uncool? Some days I think they're so cool, and some days I think they are the single lamest band of all time.
1) No.
2) Just like anything, better synthesizers are just a tool that can be used in a way that I like or in a way I don't. In itself no instrument can 'improve' music - if such a thing even makes sense.
3) No. I don't rank instruments, so I wouldn't know. All tools.
4) Any genre can convey anything.
5) James Brown. Ray Charles. Others.
6) They're cool.
Nice write up! I learned quite a bit and as a German Lit major/someone who lived in Germany and Austria for a year each, I'd have to agree.
I personally like their two follow up albums more - they are sonically more interesting, but TEE is often hailed as their masterpiece. I actually don't know why - is it because it's the one that got them popular? Dunno.
Kraftwerk achieved fantastic sounds and to be honest I really don't see any other group surpassing the quality of electronic music they made. Possibly more interesting music, but somehow the quality of the tones/application of them is top notch to me.
1) Has the existence of a continental European identity become a reality given the presence of the European Union?
Most Europeans I know don't really feel like they belong to a state in a bigger union, like say in the United States. I'm sure it has improved though at a business/political level compared to say 1960, and I think many had some kind of vision/hope that maybe it would? Dunno.
2) Do you think that the constant advances in musical technology (such as the more complex sequencers utilized on Trans-Europe Express) have improved the state of music?
Made it more interesting that's for sure. I don't think it improved or brought down the state of music. There have been many who argue electronic music lost its soul/human connection. I don't think that's true, but is an interesting argument. From their perspective, they often say before electronic music, there was a direct human touch/vibration to the sound. With electronic music, now it's pushing a button and then that button has a non-human effect create the sound. I counter that with a human created it though and it's just a new instrument.
3) Do you think that the synthesizer and other electronic/digital resources have replaced the guitar as the most important instrument in popular music? Do you consider the synthesizer to be an instrument on par with guitars, trumpets, saxophones and so on? Why or why not? On par, sure. I feel a bit like the question is asking which medium is best to create art. I don't think there is one. It does feel like there's a general tiredness of the traditional rock band/dadrock. But for me good art is good art. I think dadrock just got boring because it no longer was an art. There's plenty of electronic music in the same boat.
4) Do you think dance music is able to develop and evoke themes as well as non-dance music is able to, or is it inherently less able to perform the role as a conveyor of ideas?
Hmm - interesting. I don't see this album as a dance album at all. So if you meant to say electronic music, then it equally can convey ideas. I mean dance music can too, but I think as a genre, it is the least likely to convey powerful ideas. One rarely has deep contemplation about philosophical ideas while skankin' to the beat.
5) Has any group besides the Beatles had a greater influence on popular music than Kraftwerk?
I don't feel qualified to answer the question. I think influence is a complex discussion. It's kind of like causation and correlation. Although I do like how you brought in artists attributing their influence to Kraftwerk. I could have guessed on Bowie, but didn't know for a fact.
6) Do you consider Kraftwerk to be cool or uncool? Some days I think they're so cool, and some days I think they are the single lamest band of all time.
For me - both. They somehow are the coolest and lamest band all at the same time. Cool because the tones/atmosphere and beats they created are fantastic. Lame because sometimes it makes me laugh.
1) Has the existence of a continental European identity become a reality given the presence of the European Union?
I don't know.
Fair enough, kind of an odd question by me to be honest.
Gowi wrote:
Quote:
2) Do you think that the constant advances in musical technology (such as the more complex sequencers utilized on Trans-Europe Express) have improved the state of music?
Yep.
I agree with you, but I'd be curious to hear your personal reasons for holding the opinion.
Gowi wrote:
Quote:
3) Do you think that the synthesizer and other electronic/digital resources have replaced the guitar as the most important instrument in popular music? Do you consider the synthesizer to be an instrument on par with guitars, trumpets, saxophones and so on? Why or why not?
At this point in time? No—but give it enough time and I believe analog will be outright overtaken by electronic instruments. It is the most rational progression to predict. As for do I consider it [the synthesizer] on par with analog instruments like the trumpet or guitar I would say that much is a no brainer; an instrument is no different than a color ready to be put to paper. All instruments are equal.
Quote:
4) Do you think dance music is able to develop and evoke themes as well as non-dance music is able to, or is it inherently less able to perform the role as a conveyor of ideas?
I would say that dance music is able to develop, transcend, and define just as much as non-dance music. There are many records within that scope that have experimented and succeeded where a band described as “progressive” or “abstract” have not. For example, you could argue that the transcendent records from artists such as Michael Jackson, Prince, and James Brown could be described as “dance music” at its roots and these artists were best when they challenged the status quo with interesting new ideas and developments.
I see no flaws in either of these arguments.
Gowi wrote:
Quote:
5) Has any group besides the Beatles had a greater influence on popular music than Kraftwerk?
Definitely not greater, but perhaps on the same level (amusingly so):
I've heard samples from this everywhere, but didn't know the source. Now I do. Thank you for filling in that gap in my knowledge.
I agree that this has definitely been super influential on a variety of genres as an inspiration for rhythms and as a source of samples. As for the comparative level of influence, I'm not sure whether or not I'd personally put it on the same level. In terms of sound, I'd say it might be a similar level of influence, and I will readily admit that The Incredible Bongo Band has likely been sampled much more than Kraftwerk. However, I believe Kraftwerk's influence extends beyond those elements in that the very method by which they produced music was influential. Entire genres of music are structured around sequenced and triggered electronics, and I'm not sure the same can be said for The Incredible Bongo Band. I guess that's a different sort of influence, and the point could be successfully argued either way, but I personally would give the edge to Kraftwerk.
Gowi wrote:
Quote:
6) Do you consider Kraftwerk to be cool or uncool? Some days I think they're so cool, and some days I think they are the single lamest band of all time.
I grew up with Kraftwerk.
As a band they were one of my father’s favorite bands, and often something I experienced through my father’s assorted mixtape collection. When I was in grade school the bands I heard the most at home were mainstays of pop music from the 1950’s and 1960’s, “the nashville sound”, and my father’s mixtapes which contained the quirky and the unknown. One mixtape had Louis Armstrong, a French-Canadian artist I cannot recall the name of, Cab Calloway, Hank Williams, and Kraftwerk. It was a trip that I always found fascinating. It is through that fascination that I can say I found them unique, interesting, and by an adolescent definition very much “cool”. Hell, I didn’t understand what communal hipness was until I was thirteen years old.
I (unfortunately) did not grow up with Kraftwerk, and had to discover them for myself after researching the background of modern electronic music. Every article I read mentioned them as a key player, and a lot of my favourite producers listed them as someone they'd listened to, so I figured I'd give them a chance. Definitely haven't regretted it, and now understand why I kept seeing their names being mentioned.
2) Just like anything, better synthesizers are just a tool that can be used in a way that I like or in a way I don't. In itself no instrument can 'improve' music - if such a thing even makes sense.
3) No. I don't rank instruments, so I wouldn't know. All tools.
I agree that all instruments are tools, and it's their use that matters, rather than having some intrinsic quality to its sound which, in and of itself, is a boon or harm to music. Given that principle, couldn't one argue that adding to the palette available to a recording artist is itself an improvement? Perhaps some themes and ideas which would have been conveyed imperfectly with another instrument are now able to be more fully conveyed since the "most appropriate" tool for that task is now available?
Beyond expanding the available tools, I think that synthesizers/digital resources have also been responsible for the advent of several genres (most genres since the mid 70s have been related to an embrace of these new tools, a new use for these new tools, or a rejection of these new tools), have changed what the live performance of music can look like, and have changed the barriers to entry for distributed music. Addressing that last point, previously, time in a recording studio was required before one could produce a record. Now, with DAWs and plugins, someone can produce an entire album without ever learning to play an instrument, paying for recording time, or even leaving their room. Combined with online channels of distribution, it makes a career in music potential available to anyone with a laptop. This broadens who contributes to popular music, but can potentially saturate the industry with music that sounds the same due to using the same presets on the same plugins (as is arguably the case with certain parts of the "EDM" scene). Not saying this is necessarily a boon or a bust for music, but I think that they are ideas worth exploring.
Norman Bates wrote:
4) Any genre can convey anything.
I agree, no argument here.
Norman Bates wrote:
5) James Brown. Ray Charles. Others.
James Brown's influence is complete undeniable. Absolute game-changer. I would be interested to get a more complete list of your others.
Thanks for responding and contributing to the discussion
I personally like their two follow up albums more - they are sonically more interesting, but TEE is often hailed as their masterpiece. I actually don't know why - is it because it's the one that got them popular? Dunno.
I personally prefer Man-Machine to Trans-Europe Express, but I felt Trans-Europe Express was a better album for discussion. I think that Trans-Europe Express is hailed as their masterwork because it was the first album that brought together all the elements that would define Kraftwerk's sound, or put differently, it is the prototype for what a Kraftwerk album is. It may also be because Trans-Europe Express is a more self-serious album than the two that followed, both of which took a more humorous approach to the topics discussed. I don't think the humorous approach is worse, but as with many other media, "dramatic" works are looked upon more favourably than "comedic" ones (sometimes unfairly, in my mind).
sethmadsen wrote:
1) Has the existence of a continental European identity become a reality given the presence of the European Union?
Most Europeans I know don't really feel like they belong to a state in a bigger union, like say in the United States. I'm sure it has improved though at a business/political level compared to say 1960, and I think many had some kind of vision/hope that maybe it would? Dunno.
So not so much for identity, more so for pragmatic elements. Cool.
sethmadsen wrote:
2) Do you think that the constant advances in musical technology (such as the more complex sequencers utilized on Trans-Europe Express) have improved the state of music?
Made it more interesting that's for sure. I don't think it improved or brought down the state of music. There have been many who argue electronic music lost its soul/human connection. I don't think that's true, but is an interesting argument. From their perspective, they often say before electronic music, there was a direct human touch/vibration to the sound. With electronic music, now it's pushing a button and then that button has a non-human effect create the sound. I counter that with a human created it though and it's just a new instrument.
To me, electronic music introduces a lot of new facets to what is possible with music, but a synthesizer isn't a replacement for previous instruments, in the same way that I don't think that a guitar was a replacement for what came before it. As for the "human touch", I've found that one to be an interesting argument. Synthesizers have an infinitely variable sound that can be adjusted in real time by a performer, theoretically giving them more ability to adjust the sound of their instrument than a performer on any other instrument, and more advanced synthesizers have added "aftertouch" and other refinements which allow for more nuanced keyboard expression. However, one could argue that this doesn't truly give a synth the true "human touch", but rather only a facsimile of it.
sethmadsen wrote:
3) Do you think that the synthesizer and other electronic/digital resources have replaced the guitar as the most important instrument in popular music? Do you consider the synthesizer to be an instrument on par with guitars, trumpets, saxophones and so on? Why or why not? On par, sure. I feel a bit like the question is asking which medium is best to create art. I don't think there is one. It does feel like there's a general tiredness of the traditional rock band/dadrock. But for me good art is good art. I think dadrock just got boring because it no longer was an art. There's plenty of electronic music in the same boat.
I agree that the synth is an equally respectable instrument. As for the other part of the question, there's no right answer. Every genre has its instances of greatness and of garbage, however, it appears to me that most of the trends in music currently appear to be shifting towards electronic and digital resources. I don't know if this is a long term trend or whether guitar based music is in a temporary lull and will reassert itself as the basis of popular music. I lean towards the former being the case.
sethmadsen wrote:
4) Do you think dance music is able to develop and evoke themes as well as non-dance music is able to, or is it inherently less able to perform the role as a conveyor of ideas?
Hmm - interesting. I don't see this album as a dance album at all. So if you meant to say electronic music, then it equally can convey ideas. I mean dance music can too, but I think as a genre, it is the least likely to convey powerful ideas. One rarely has deep contemplation about philosophical ideas while skankin' to the beat.
I don't think that this album is necessarily a dance album, but it definitely has elements associated with dance music. The music of Trans-Europe Express is closely related in form to dance music, but discusses themes of identity more than it encourages one to shake their booty. I guess whether music is "dance music" is more related to its likely reception by an audience than to its form. Strauss' "The Blue Danube" is in waltz form, so it is technically dance music, but feels like a piece that could be intended for contemplation as much as for dancing. The minuet is also a dance form, but is often featured as a movement in classical symphonies. These pieces are also probably intended for contemplation more than for dancing.
(Sidenote, didn't expect to see the word "skankin'" in your response)
sethmadsen wrote:
5) Has any group besides the Beatles had a greater influence on popular music than Kraftwerk?
I don't feel qualified to answer the question. I think influence is a complex discussion. It's kind of like causation and correlation. Although I do like how you brought in artists attributing their influence to Kraftwerk. I could have guessed on Bowie, but didn't know for a fact.
Influence is tricky, because it usually work on parallel tracks rather than on a clear line of succession. Music history tends to try to create narratives about influence, which often times loses or avoids the nuances of how changes in music actually happen in gradual steps.
sethmadsen wrote:
6) Do you consider Kraftwerk to be cool or uncool? Some days I think they're so cool, and some days I think they are the single lamest band of all time.
For me - both. They somehow are the coolest and lamest band all at the same time. Cool because the tones/atmosphere and beats they created are fantastic. Lame because sometimes it makes me laugh.
Any band whose aesthetic can be equally well represented by the following two images (both part of the booklet for Trans-Europe Express) is somehow simultaneously both cool and lame.
I agree with you, but I'd be curious to hear your personal reasons for holding the opinion.
They’re not very interesting personal reasons. I just think it’s a given that anything that adds to music as an artform undeniably improves it. Better mixing & engineering techniques, better quality instrumentation, experimental processes refined—all these things pretty much expand music beyond what it was. It’s undeniable that Kraftwerk played a role due to their early developments as krautrock contributors and of course their later developments as electronic pioneers.
souplipton wrote:
I've heard samples from this everywhere, but didn't know the source. Now I do. Thank you for filling in that gap in my knowledge.
I agree that this has definitely been super influential on a variety of genres as an inspiration for rhythms and as a source of samples. As for the comparative level of influence, I'm not sure whether or not I'd personally put it on the same level. In terms of sound, I'd say it might be a similar level of influence, and I will readily admit that The Incredible Bongo Band has likely been sampled much more than Kraftwerk. However, I believe Kraftwerk's influence extends beyond those elements in that the very method by which they produced music was influential. Entire genres of music are structured around sequenced and triggered electronics, and I'm not sure the same can be said for The Incredible Bongo Band. I guess that's a different sort of influence, and the point could be successfully argued either way, but I personally would give the edge to Kraftwerk.
I would also give the edge to Kraftwerk considering their influence persisted beyond just one album and reached out to more than one or two genres of music. The Incredible Bongo Band was a happy accident that became the backbone to hip hop and what we now call contemporary R&B, whilst Kraftwerk touched upon everything from hip hop to electronic music to art rock and so on. It was a large breadth that often asks the question of who is more influential to music in the twenty-first century?
Kraftwerk belong to a very select group, add to it however you think. For sure that would include James brown, Beatles and bob Dylan.
I'm not sure what the incredible bongo band has to do with anything. Apache (mostly though there were other bongo band breaks) was one of a handful of beats that the very early b boy parties were rocking to. Whether or not kool herc had a copy of apache or not would mean very little to the birth and history of hip hop. Even though I love the band and the break is possibly the greatest and most influential of all time, it's still just a beat. Funky drummer has to be on par inflence wise. Herc still had a crate full of breaks without that one. If you think that apache was so influential and a foundation that hip hop is built on, then the credit must go to Herc surely? But really would hip hop have not evolved without bongo band?
As a slight aside, there was actually a genre that probably or certainly even would not have existed as it did without one breakbeat. Jungle was based almost entirely on "The Amen" break, sampled from Amen Brother by The Winstons. The most sampled track of all time. Most will know it as the beat from Straight Outta Compton". It most likely only started to be used in hip hop due to being on an Ultimate Break and Beats compilation.
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