Trans-Europe Express

Trans-Europe Express
Studio album by Kraftwerk
Released	May 1977
Recorded	1976 at Kling Klang Studio, Düsseldorf, Germany
Genre	Electronic music
Length	42:45
Label	Kling Klang
Producer	Ralf Hütter, Florian Schneider
Professional reviews
Allmusic [1] Robert Christgau (A-)[2] Drowned In Sound (10/10)[3] The Independent [4] Mojo [5] Q [6] Rolling Stone [7] Slant Magazine [8] Spin (9/10)[9] Uncut [10]
Kraftwerk chronology
Radio-Activity (1975) Trans-Europe Express (1977) The Man-Machine (1978)

Trans-Europe Express (German: Trans Europa Express) is the sixth studio album by German electronic music band Kraftwerk. Released in May 1977 on Kling Klang Records in Germany, the album was produced by members Ralf Hütter and Florian Schneider, who also wrote all the album's music. Trans-Europe Express is an album with two major themes: the Trans-Europe Express as a symbol for glorification of Europe and the disparities between reality and image. Musically, the songs on this album differ from the group's ealier Krautrock style with a focus on electronic mechanized rhythms, minimalism, and occasional manipulated vocals.

Trans-Europe Express was recorded in mid-1976 in Düsseldorf, Germany under the working title of Europe Endless. The album's production was influenced by friends and fellow musicians, including Paul Alessandrini who suggested that Kraftwerk write a song about the Trans-Europe Express to reflect their electronic music style. Hütter and Schneider met with musicians David Bowie and Iggy Pop prior to recording which influenced song lyrics, and Maxime Schmitt encouraged the group to record a French-language version of the song "Showroom Dummies". This would lead the group to later record several songs in French. On the album's release, Trans-Europe Express was the highest charting album yet peaking at 119 on the American charts. The album received general acclaim on its initial release and charted on the Village Voice's 1977 Pazz & Jop critics poll.

Two singles were released from Trans-Europe Express: "Trans-Europe Express" and "Showroom Dummies". Both the album and single "Showroom Dummies" did not chart in the United Kingdom until the 1980s. The album has been re-released by the group in several formats and continued to receive praise from modern critics who generally praise the album as one of the greatest and most influential records of the decade.

Production

After the release and tour for the album Radio-Activity, Kraftwerk continued to move further away from their earlier Krautrock style of improvised instrumental music, refining their work more into the format of melodic electronic songs.^[11] During the tour for Radio-Activity the band began to make performance rules such as not to be drunk on stage or at parties. Karl Bartos wrote that about these rules, stating that "it's not easy to turn knobs on a synthesizer if you are drunk or full of drugs. … We always tried to keep very aware of what we were doing while acting in public."^[11] During this tour, early melodies that would later evolve into the song "Showroom Dummies" were being performed.^[12] In mid-1976, Kraftwerk began to work on the album which currently had the title "Europe Endless".^[13][14] The album was recorded at Kling Klang Studio in Düsseldorf.^[14] Artistic control over the songs was strictly in the hands of members Ralf Hütter and Florian Schneider with Bartos and Wolfgang Flür contributing sequenced electronic percussion.^[15]

The original German cover of the album. The image was printed elsewhere on the album packaging on its English release.

Kraftwerk went to train bridges to listen to the sounds the train would actually produce. The group found the sound the train made was not dancable and changed it slightly.^[16]

An important piece of new equipment used on the album was the Synthanorma Sequenzer, a customized 32-step 16-channel analogue sequencer made for the band by Matten & Wiechers. This allowed the construction of more elaborate sequenced synthesizer lines, which are featured prominently in the tracks "Europe Endless", "Franz Schubert" and "Endless Endless"^[17][18], and liberated the player from the chore of playing repetitive keyboard patterns.

Whereas Radio-Activity had featured a mixture of German and English lyrics throughout the album, Trans-Europe Express went further and was mixed as two entirely separate versions, one sung in English, the other in German. At the recommendation of Maxime Schmitt, a French version of the song "Showroom Dummies" titled "Les Mannequins" was also recorded. "Les Mannequins" was the group's first song in French and would influence descisions to record songs in French on later albums.^[13] Further mixing of the album was done when Hütter and Schneider visited Los Angeles to mix some of the music at the Record Plant Studio.^[14] Elements of the mixing sessions that were done in Los Angeles were dropped from the album, including the use of more upfront vocals in order to do more mixing in Düsseldorf and Hamburg later.^[19]

The artwork for the album cover of Trans-Europe Express was originally going to be a monochrome picture of the group reflected in a series of mirrors. This idea was dropped for a photo by New York based celebrity photographer Maurice Seymour, with the group dressed in suits to resemble mannequins.^[20] J. Stara's image of the group was taken in Paris and is a highly retouched photo-montage of Kraftwerk from their shoulders up again posed as mannequins. The English-language release of the album has the two photos reversed.^[20][21] On the inside sleeve, a color collage of the group sitting at a small cafe table on the inside sleeve was designed by Emil Schult. The photo for this scene was from the session by Maurice Seymour, taken on the group's American tour. Other photos were taken by Schult that show the group laughing and smiling. These were not used for the album's release.^[21]

Music

Allmusic refered to Trans-Europe Express as a concept album with two different themes. The first being the disparities between reality and image with the songs "Hall of Mirrors" and "Showroom Dummies" and the others about the glorification of Europe.^[1] Slant Magazine described the album as a "a sonic poem to Europe".^[8] Wolfgang Flür described Kraftwerk's influence from Weimar Germany era, stating that they were "children who were born straight after World War Two...we had no musical or pop culture of our own...there was the war, and before the war we had only the German folk music. In the 1920s or 1930s melodies were developed and these became culture that we worked from".^[22] Kraftwerk found their reception in England or America was putting the group in the field of Nazi Germany. The group desired to make a new symbol for the European community by using the symbol of the Trans Europ Express.^[16]

Paul Alessandrini is credited for helping to contribute to the album's concept. Alessandrini told Hütter and Schneider that "with the kind of music you do, which is kind of like an electronic blues, railway stations and trains are very important in your universe, you should do a song about the Trans Europe Express".^[23] The musical style of Trans Europe Express was described by Huey as melodic themes which are "repeated often and occasionally interwoven over deliberate, chugging beats, sometimes with manipulated vocals" and "minimalism, mechanized rhythms, and crafted, catchy melodies".^[1] Hütter stated that the reason why the music on the album is minimalist by stating that "If we can convey an idea with one or two notes, it is better than to play a hundred or so notes".^[23]

The first side of Trans-Europe Express has three songs. The song "Hall of Mirrors" was described as containing deadpan vocals with lyrics that speculate how stars look at themselves in a looking glass.^[13] Hütter and Schneider have described the song as auto-biographical.^[13] The third track "Show Room Dummies" was described by Allmusic as "bouncily melodic in a way that most of Trans-Europe Express isn't" and that the lyrics were "slightly paranoid".^[24] The idea of the song came from a British concert review, where a critic wrote that Flür and Bartos looked like showroom dummies. Some versions of the song contain a spoken introduction starting with a countdown of "ein zwei drei vier" as a parody of band The Ramones who started some songs with a quick countdown of "one two three four".^[13]

The second side of the Trans-Europe Express is a suite with "Trans-Europe Express" and continuing through to "Metal on Metal" and "Franz Schubert" before closeing with a brief reiteration of the main theme from "Europe Endless".^[25] Allmusic describes the songs musical elements such as the haunting theme and "and the deadpan chanting of the title phrase, are slowly layered over that rhythmic base in much the same way that the earlier "Autobahn" was constructed".^[25] The song's lyrics reference traveling Station to Station to meeting with Iggy Pop and David Bowie.^[26] Hütter and Schneider had previously met up with Bowie in Germany and were flattered with the attention they received from him.^[27] Ralf Hütter was interested in Bowie's work as he had been working with Iggy Pop, who was the former lead singer of The Stooges; one of Hütter's favorite groups.^[28]

Release

The 2009 re-issue of the album features new album art.

Trans-Europe Express was originally released on May 1977.^[13] With the help of Günther Fröhling, Kraftwerk made a promotional music video for the song "Trans-Europe Express". The video features the group wearing long coats on a train trip from Düsseldorf to nearby Duisburg. Photo stills from this video were later used on the single for "Showroom Dummies".^[26] Fröhling would work with Kraftwerk again on their album The Man-Machine doing the photography for the album cover.^[29] To promote the album to the press in France, EMI Records hired a train with old fashioned carriages from the 1930s to travel from Paris to Rheims while the songs from the album were played for them.^[15]

Trans-Europe Express sold better in the United States than Kraftwerk's previous album Radio-Activity by charting higher on the Billboard Top LPs & Tapes chart, peaking at number 117.^[30][31] "Trans-Europe Express" and "Showroom Dummies" were released as singles from the album.^[32] "Trans-Europe Express" charted in the Billboard Hot 100 in 1977 where it peaked at number 67.^[33] Trans-Europe Express began charting in the United Kingdom in the 1980s. The album entered the charts on February 6 1982, staying in the charts for seven weeks and peaking at number 49. The single for "Showroom Dummies" entered the charts on February 20 1982, staying in the charts for five weeks and peaking at number 25.^[34] In October 2009, a remastered edition of the album was released by Mute Records in the United Kingdom and Astralwerks Records in the the United States. This re-release was available on compact disc, digital download and vinyl and features a different album cover from previous versions of the album. This new version features a black background with white Trans Europ Express train in the center.^[3][35][36] The 2009 re-release track listing amended the track titles to match the German release, with Metal on Metal only being the initial two minutes of the music and the remainder retitled "Abzug" (English: "Departure").^[37][38]

Critical reception

Contemporary reviews for the Trans-Europe Express were positive. Music critic Robert Christgau gave the album an A- rating, stating that the album's "textural effects sound like parodies by some cosmic schoolboy of every lush synthesizer surge that's ever stuck in your gullet—yet also work the way those surges are supposed to work".^[2] Trans-Europe Express charted in the Village Voice's 1977 Pazz & Jop critics poll, placing at number 30.^[39]

Modern reception has been very favorable. Trans-Europe Express has the highest possible ratings from publications including Allmusic, Mojo, Rolling Stone and Slant Magazine.^[1][7][8][5] Steve Huey of Allmusic wrote that the album "is often cited as perhaps the archetypal (and most accessible) Kraftwerk album...Overall, Trans-Europe Express offers the best blend of minimalism, mechanized rhythms, and crafted, catchy melodies in the group's catalog".^[1] Sal Cinquemani of Slant described the album's influence as "unprecedented, reaching as wide as rock (Radiohead's Kid A), hip-hop (Afrika Bambaataa's classic "Planet Rock," Jay Dee's recent "Big Booty Express") and pop (Madonna's Drowned World Tour, which incorporated samples of "Metal on Metal")".^[8] British press also looked favorable on the album. Q gave the album four stars out of five, stating that the album "changed the face of American dance music" and that it was one of the most compelling beats of this or any other era".^[6] In 2009 Drowned in Sound gave the album a perfect rating of 10 out of 10, stating that "Trans-Europe Express is all at once antique, timeless, retro and contemporary. Its status as modern electronic music's birth certificate is well-earned, but its hallowed reputation should never be allowed to disguise its true value and power as a work of art. Nor should it obscure a longevity that, 32 years on, we might as well start calling by its real name: immortality".^[3]

Trans-Europe Express has also appeared on top album lists from several publications. In 2002, Slant Magazine placed Trans-Europe Express at number one on their list of the greatest electronic albums of the 20th century.^[40] In 2003, Rolling Stone placed the album at number 253 on their list of The 500 Greatest Albums of All Time.^[41] Channel 4 placed the album at number 71 on their list of top 100 Greatest albums.^[42] In 2004, the online music website Pitchfork listed the album at number six on their list of top 100 albums of the 1970s, stating that "the day will soon come, if it hasn't already, that Trans-Europe Express joins the ranks of Sgt. Pepper's Lonely Hearts Club Band and Exile on Main Street as a record that simply cannot be written about".^[43]

Track listing

Personnel

• Ralf Hütter – voice, synthesizer, orchestron, synthanorma-sequenzer, electronics, producer
• Florian Schneider – voice, vocoder, votrax, synthesizer, electronics, producer
• Karl Bartos – electronic percussion
• Wolfgang Flür – electronic percussion
• Peter Bollig – engineer
• Bill Haverson – engineer (The Record Plant, Hollywood)
• Thomas Kuckuck – engineer (Rüssl Studio, Hamburg)
• Maurice Seymour – photography
• J. Stara – photography
• Günther Fröhling – photography (2009 remaster only)
• Ink Studios – typographic design
• Johann Zambryski – artwork reconstruction (2009 remaster)

^{[44] [37]}

Notes

References

• Bussy, Pascal (2004). Kraftwerk: man, machine and music. SAF Publishing Ltd. ISBN 0946719705. http://books.google.ca/books?id=jyKuiI3kV_gC. Retrieved October 20, 2009. 
• Warwick, Neil; Jon Kutner, & Tony Brown (2004). The Complete Book of the British Charts: Singles and Albums. Omnibus Press. ISBN 1844490580. http://books.google.ca/books?id=ib4MyAIpe3MC. Retrieved October 21, 2009. 
• Strong, M. C. (1998). The Great Rock Discography. Giunti. ISBN 8809215222. http://books.google.ca/books?id=2C6I4KfgJ1kC. Retrieved October 21, 2009. 
• Flür, Wolfgang (May 2003). Kraftwerk: I Was a Robot. Sanctuary. ISBN 1860744176. 
• Weisbard, Eric; Craig Marks (1995). Spin Alternative Record Guide. Vintage Books. ISBN 0679755748.