Qzerty

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However, their video is on rotation on yos

Check out this link link rotto

So let's tell all those who don't have their ticket to Milan yet.
It has been announced that the Depeche will be among the headliners at the Benicàssim festival next summer in Spain.
I'm starting to pack my bags, the DeMeeting will follow suit. :)

Here's where I read the name of this band, in the Malleus newsletter.
Cool poster and the malleoli are always great. 404

Unfortunately, blowing up Mediaset is not enough to achieve your goal, or at least not anymore.

Sempols, Sempols!

@Nobody: Three point three recurring is fair for this album, I'm sorry you were left perplexed. The five was for the average, but thinking it over, for me it's a four. Anyway, we are talking about a band and an album that mean a lot to me. I think this is clear from the words I've shared. I hope I haven't bored you too much.

As for Radioactivity, I’d say that Kraftwerk were, I believe unintentionally, prophets. We've already mentioned that the album is dedicated to FM radio stations since during the American tour of Autobahn, the Germans realized the grandeur of this medium. Thus, in the album, we find metaphors: radio stations-atomic energy in the title track or a song like "ohm sweet ohm," which already incorporates a playful pun in the title. In the original lyrics of Radioactivity, Madame Curie is already called into question, as she discovered radium with her husband. There’s the line "Contaminating population" that almost sounds like a warning. Then, after various nuclear disasters (Chernobyl above all), the lyrics progressively took on a more engaged connotation, which Kraftwerk intentionally emphasized in the version of The Mix, where they start by listing the sadly famous locations associated with atomic energy (Chernobyl, Harrisburg, Sellafield, Hiroshima). In the latest live performance, the denunciation becomes even more explicit with an introduction to the song that is practically a statement recited by a robotic voice with figures and data about the nuclear danger.

The key is to get back in the game, and they have managed to do just that. There was certainly some inconsistency in their record production until 2003, along with a long break from the stage for reflection. The band needed to be reformed, energy and motivation had to be rediscovered, and a show worthy of their past performances needed to be created, while also aligning with what is happening today, considering that Ralf & Florian are charming middle-aged gentlemen.
Surprisingly (though not so much), the turning point that allowed for the grand return of Krapfen can be summed up in two words: men and machines. After the disagreements with Wolfgang Flur, who in an unauthorized biography-novel spills gossip galore, and a more peaceful separation (or at least without hard feelings) from Karl Bartos, the core was left orphaned by two electric giants.
Fritz Hilpert, Ralf's cycling companion, and Hemming Schmit, a skilled sound technician, will fill this gap. With the band reformed and new songs prepared, all that remained was to reorganize the live performance. And here technology comes in the form of laptops and control surfaces to free the Düsseldorf team from the age-old problems caused by analog synthesizers or self-built drum machines (rumor has it they were even patented!), instruments too fragile for life on the road.
If we add to that three digital matrix projectors that create a single wide-screen panoramic video projection behind them, we can undoubtedly say that the Kraftwerk myth continues...