|
|
1 |
|
|
|
The Robots |
|
|
|
|
|
|
|
6:12 |
|
|
|
|
|
|
|
|
|
|
2 |
|
|
|
Spacelab |
|
|
|
|
|
|
|
5:55 |
|
|
|
|
|
|
|
|
|
|
3 |
|
|
|
Metropolis |
|
|
|
|
|
|
|
6:02 |
|
|
|
|
|
|
|
|
|
|
4 |
|
|
|
The Model |
|
|
|
|
|
|
|
3:42 |
|
|
|
|
|
|
|
|
|
|
5 |
|
|
|
Neon Lights |
|
|
|
|
|
|
|
8:55 |
|
|
|
|
|
|
|
|
|
|
6 |
|
|
|
The Man-Machine |
|
|
|
|
|
|
|
5:28 |
|
|
|
|
|
|
|
|
|
The Man-Machine is closer to the sound and style that would define early new wave electro-pop -- less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, Trans-Europe Express, there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("The Robots," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neon Lights" and "Metropolis"). Plus, there's "The Model," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle. More pop-oriented than any of their previous work, the sound of The Man-Machine -- in particular among Kraftwerk's oeuvre -- had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain's later new romantic movement.
|
|