ABSTRACT

Introduction The works, aesthetics, and influences of Kraftwerk have led to all sorts of paradoxes. These paradoxes are related to a distinct body of work, conceptual frame of reference, history, and the eager assignment to self-canonization. Kraftwerk resists attempts at classification, and it is, for example, difficult to situate them in terms of traditional terminological reference points such as pop or rock. Kraftwerk is not a band, and while it is often referred as a formation, even this designation is incorrect, since Kraftwerk is nowadays a project by one man who employs three people for his performances. It is also difficult to trace what is commonly referred to as the ‘history of the band’ or to identify the albums that are original creations by Kraftwerk. In light of all of these circumstances and the very fact that Kraftwerk is characterized, first and foremost, by sobriety and reduction, one can only conclude that what one is dealing with here is one of the most striking examples of self-mythologization in contemporary music history. For this reason, talking about Kraftwerk not only means talking about musicians, machines, or melodies but also about myths. In order to understand the myth and the mythmaking of Kraftwerk, it is necessary to first take a closer look at the basic facts concerning this phenomenon.