Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
[AllMusic] The last great Kraftwerk album, Computer World captured the band right at the moment when its pioneering approach fully broke through in popular music, thanks to the rise of synth pop, hip-hop, and electro. As Arthur Baker sampled "Trans-Europe Express" for "Planet Rock" and disciples like Depeche Mode, OMD, and Gary Numan scored major hits, Computer World demonstrated that the old masters still had some last tricks up their collective sleeves.
1975 ( remaster 2009 )
[ Sputnik ] Radio-Activity is somewhat of a forgotten classic when it comes to Kraftwerk fans. Understandably though, the band released another three albums (Autobahn was before this) after it, all of which continually broke the exceptionally high standards and conventions the band had set themselves. In many ways, it is the middle child. Good, but not outstanding, and certainly not bad enough to get any negative attention. It has simply sat on the shelf, being played occasionally for the title track and moderately successful single Radio-Activity, a groundbreaking release, not simply for it's first usage by Kraftwerk of English vocals in any of their songs, but one notable for a ghostly power plant choir, whom New Order took notice of, and liberally sampled in their smash hit Blue Monday.
1995
Lacquer Cut By – Bernard Grundman
Rolling Stone: "Like the Beasties, Beck is among the few white-boy hip-hop wanna-be’s with a clue. He truly understands the tenuous thread that connects funk to punk, hip-hop to art rock, and jazz to country blues, and is able to cram his encyclopedic knowledge of 20th-century musical styles into three- and four-minute nuggets of pure pop. But as “Loser” made clear, Beck’s avant-garde, mix-and-mingle approach is not just an intellectual exercise. When he chants, “I got two turntables and a microphone,” over a funky keyboard line and a midtempo drum track on Odelay’s “Where It’s At,” he does so with such giddy enthusiasm you can practically see him rifling through his electro-funk collection for the perfect Afrika Bambaataa groove. It’s nothing short of the sort of passionate fandom that emanates from Keith Richards’ country- and blues-inspired guitar licks on Exile on Main St. or from Bob Dylan’s Jack Kerouac-by-way-of-Woody Guthrie crooning on Highway 61 Revisited."
1991
Remastered At Abbey Road Studios By Miles Showell
AllMusic: "In a way, this is the '2001' of house records: It's long, daunting, and contains many slow segments that are broken by moments of such genius that lesser men may weep. I think the most brilliant thing about the album, though, is it's structure. It is an adventure, but rather than to the Ultraworld, you'll find yourself drifting through four segments with their own distinct sound, starting with the earthy techno of "earth orbit" and ending in the flat-out trippyness of the titular "ultraworld", a journey that progresses in such a natural manner that it's easy to get lost in the layers of music - Especially with the aid of some good hallucinogens. Just sayin'."
2002
Lacquer Cut By – John Golden
Mastered By – Bob Ludwig
BBC: "Lazy journalism dictates that all reviews of a new Beck album must make reference to the fact that he is a 'post-modern Prince' and that his lyrics tend to be 'surreal wordplay with a hip hop edge'. Well, scratch all that because, compared to his last release - the sexy funk pot-pourri, Midnite Vultures -this is about as straightforward as he's ever been. If Midnite Vultures was his seduction album, Sea Change is his bitter break-up opus. Yes, someone has broken Beck's heart and, for better or worse, we're invited along for the ride."
2016
AllMusic : Jean-Michel Jarre's two-part Electronica series finds the French synthesizer guru in full-on Santana circa Supernatural mode, collaborating with a vast array of guest musicians ranging from veterans to younger artists. The second volume, released seven months after 2015's inaugural The Time Machine, is titled The Heart of Noise in reference to Italian futurist Luigi Russolo's 1913 manifesto The Art of Noises. Jarre has a keen ear for collaborators, ranging from his '80s synth pop peers to 21st century techno artists whose work carries on the legacy of his past innovations. As to be expected from such an extensive laundry list of guests, however, the end result is wildly inconsistent, and taken song by song, it's very much a hit-or-miss affair. A lot of the pairings make total sense on paper, and in many cases they don't necessarily do anything wrong, they just aren't particularly exciting.
[ drowned in sound ] Viewed with the generous and neatening benefits of hindsight, while Kraftwerk’s sixth album, Trans-Europe Express, mapped out the blueprint for electro and techno, their seventh, The Man-Machine, secured what Simon Reynolds has called the group’s ‘ancestral centrality’ for synthpop. As such, the only bad thing that could be said about it is that it was indirecly responsible for the release of thousands of tonnes of New Romantic haircut-enabling chlorofluorocarbons into the atmosphere.”
