puntiniCAZpuntini

Well, I'm listening to it again now and it still sucks even more, and Electric Meditation fits perfectly in comparison, same musical goal, but one achieved and the other not. Ambient is a term used by people to define the records of Tangerine Dream, Popul Vuh, Organisation... or we can generically call it Kraut Rock, we pretty much remain in that area even if it widens since it includes people like Amon Düül who, for example, have nothing to do with Neu!, and Neu! have nothing to do with Popul Vuh. It's not a generalization, on the contrary, more "sub-genre-specific" than that... it's not at all the same as Springsteen with Sabbath; at best, you can match Sabbath with Trouble and Springsteen with Ligabue. This album is just a rough draft, and it also came out poorly.

And then they please Aeneas, an extra reason to burn the discography.

In my opinion, Zion just anticipated the Club Culture in the sense of poppy people shaking their butts with a gin and tonic in hand. Techno and today's electronic music were created by Neu! in '72, when Kraftwerk were still stuck on Kraftwerk 1. In fact, Kraftwerk annoys me a lot; they were seminal here and there when they really just pop-ified Neu!’s stuff. Then, yes, they were commercially brilliant since they understood before anyone else that people on the dancefloor can’t process more than three sounds at once... but from a musical point of view, they are far inferior to their cousins Dinger & Rother.

This album is a bit like the first Genesis one... half a mess, remembered only because they went on to make great records.

Yes, but the second comment was just to reiterate that I don't like your review, also because with the phrase you conclude with, it seems like you're talking about God... and that God really bothers me, so one should express it with style. This album doesn't please anyone; I've never read a positive review of this draft.

The same melting pot of remarkable sounds that 87 groups from the same era, the same nation, and some from the same city were offering. But this sounds worse; they hadn’t yet found the right feeling with the machines.

If you then add that Kraftwerk really get on my nerves, you reach the pinnacle of cosmic thought. I enjoy a single album by Neu! much more than an entire discography of Kraft. Kraft were too thirsty for Loop, there were no variations; every song bores me after 40 seconds. Neu! Uber Alles, the fathers of Techno.

The fact is that, like a good monk, I had put the title "Kraftwerk" to pique curiosity in the subject of the review, >>> Well, exactly: advertising choice = One. I see it too that it’s called that, but the one holds the same value for the commercial move. Regarding the Charts, I remind you that you were talking about Charts and absolute values of music of all sorts from 1600 to today; I’m talking about German Ambient records from the same year. There’s a slight difference in scope and mental gymnastics. I’m not comparing this to Michael Bublé as you compared Bach with Metallica; I’m comparing this to the First of Tangerine Dream, which is in the same exact genre, vein, and origin and is only a few months older, and Electric Meditation wipes the floor with this: more polished sound, catchier melodies, and more original atmospheres, but above all sound, because in the end, this is nothing but sound experimentation (of its time), and if it sounds bad, it’s worth little. Or the White Noise, a group reviewed by Kosmo a million years ago, also predates this and wipes the floor with it. In my opinion, this record has survived the oblivion solely because of Kraftwerk’s records after the third one; the first two Kraft albums, especially this one, are really worth little. If you add to that your alignment with the "let's exploit the name to the max" party, then it's one. Anyway, I don’t have the original version, nor have I acquired it, nor will I ever, it’s crap; do you think I’d spend money on it, huh?

Even Friday by The Cure fits perfectly.

He didn’t get the title wrong, he just got the group wrong. The title is right, it’s the group that’s wrong (which is worse, come on). But I would have still given him a one, because he also wrote Kraftwerk in the review, and also because this record is half bad. And then because I’m racist and he’s from the south. And also because Palermo sold Toni, who is like ice creams that are good but cost millions. There’s always a reason to give a one.