The Mix

Product Information

In the process of revisiting music of my youth, kraftwerk was a milestone for me, and listening to them on a Fire, is kind of apt, after all, it all computer love. It's not as haunting as the original, but rather dark and intense, and the lyrics have been significantly changed to make explicit a stance against nuclear energy. Get abit annoyed, with all these remastered recordings, a lot of the rawness and energy is lost, trying to imagine something that was perfect the first time round. During this period, the band was converting the Kling Klang studio to digital, transferring its sound library from 24-track analogue tape to disc, which factored into the album's creation.

Shortly after the last "Wir sind die Roboter" the left channel gets louder by about 4 dB while the right channel stays the same. The prolonged production period for the album led band members Wolfgang Flür and, later, Bartos to leave the group, before its release. It’s got nothing on the version from Die Mensch-Maschine, but it’s still one of the group’s signature compositions. The breakdown with the voices being sped up and distorted is brilliantly weird, the additions to the beat preserve the original tracks' energy, and the ending is well-done.What exactly caused this to happen is mostly unknown, even though you can easily pinpoint it to obvious conflicts within the group and a feeling of exhaustion hanging over them.

Home Computer: An almost seamless combination of Home Computer and It's More Fun To Compute, with some new ideas mixed in as well. I'd go so far as to say that if you're a fan of 90s dance music, this would be a solid introduction to the band that influenced much of it. And it's obviously depending on the record player if the record skips - Die Roboter skips on my Technics 1210 Mk2 but the same LP plays without problems on my Revox B790 tangential player. This is no manufacturing defect - it's a mistake that was made in the cutting room when the record was cut for the 2009 reissue.I've got no idea how this could happen and why nobody else has noticed it before - it's clearly audible, now that I know it. This CD Inner and Outer Sleeve For this specific sale the CDs sleeve condition refers only to the inner paper insert sleeve, and does not refer to the outer digipak, jewel case or cardboard outer casing. The Mix was created entirely digitally, albeit during a period when the technology had yet to reach its maturity, and thus featured a sound which many listeners tend to find somewhat "sterile" compared to the analogue electronics employed on most of Kraftwerk's previous recordings of these songs. The only one I liked even a little bit was ‘Computer Love’ and even then, that was more of just a ‘wow this song is good’ instead of a ‘wow they really recreated this track with such nuanced changes that I can definitively say I’d relisten to this version’. The Robots: The added layers of accompaniment in this version sacrifice the dark atmosphere of the original, in favor of something that makes you want to join the robots in their mechanical dance.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Of course, "Home Computer" is way too long and boring, and nowadays the entire affair is entirely ("Computer Love" aside) superseded by their brilliant live album, "Minimum-Maximum". After the level change in one channel, the bass is not in the stereo centre anymore and this can kick the needle "over the edge" because it gets more pressure from one side than the other.Abzug: Odd title since this sounds almost nothing like the original "Abzug"; more like the atonal pad that opens and closes "Metal on Metal" extended out to 2 minutes. All the remixes are just more boring versions of great tracks with some slight changes in the melody. The Mix" is a remix album by Kraftwerk that actually acts like a live album that is not live: after this release, they began to tour again, and to this day they perform mostly the versions found on "The Mix". Synth Pop was popular in the 80's and while Kraftwerk followed that trend then (that they originally helped inspire), in 1991, Dance music was more popular and here they follow that trend instead. Abrantes, while uncredited in the liner notes, appeared in the artwork and other promotional material.

I was pleased to find that, although the extended remixes smack more of the early 90s period (with all the acid synth bass and drum machine blip-blops one might expect) in which they were created rather than the 70s era which people tend to remember them for, the tunes I remembered still survived fairly intact and the CD fulfilled its purpose of making me want to hear more, if in the music's original form next time. Karl Bartos said in a 1998 interview with Sound on Sound that the original idea for The Mix was to release a "best of" compilation, a suggestion from Bob Kratzner at the band's U. By revisiting their past, the band somehow stopped walking entirely after putting out the most danceable project in their career. He was really thinking ahead, but I think if you made the original record, you shouldn't do the remix yourself. In retrospective reviews, All Music's Alex Henderson observed that "Dance clubs had long been a key part of Kraftwerk's following, and the dance club was the obvious target of The Mix – a collection of highly enjoyable, often clever remixes", adding that it was a "welcome addition to the Kraftwerk catalog".It featured re-recorded versions of a selection of songs which had originally appeared on the albums Autobahn through Electric Café. I find that the original strikes a better balance of energy, but this is still an enjoyable variation. Accept the 90s twist for what it is and settle in for an hour or so of synthesizer heaven next time you're stuck on the M1 - or, indeed, the autobahn. While I wouldn’t agree with those who say that this album is dated, terrible, or an insult to the band’s legacy, I don’t consider any of these tracks to be replacements for their original versions. citation needed] Ralf Hütter said in interviews that he regarded The Mix as a type of "live" album, as it captured the results of the band's continual digital improvisations in their Kling Klang studio.