Reasserting the roots of Kraftwerk’s sound in African-American R&B and jazz reveals how the soul of electronic dance music is being throttled by the dead hand of the culture industry. By Tony Herrington (March 2014)
In January, David Toop gave a talk at London’s Science Museum in which he made the startling assertion that Kraftwerk were Dusseldorf’s answer to The Isley Brothers. Rather than a frivolous provocation by a bored theorist, this represented a rare return to a subject David once made his own, critiquing existing orthodoxies on the historical give and take of African-American and European popular musics, remaking connections that have been ignored for various nefarious reasons (or just through sheer ignorance) by critics and academics alike; or that have been written out of history altogether for being too damn inconvenient or messy.
Read the rest of this short essay via Collateral Damage: Tony Herrington on the soul of electronic dance music | The Wire.