Kraftwerk (German for "power station") began in the electronic metal trend that erupted in Germany in the early 1970s. Although quiet in recent years, the four-piece synthesizer group showed amazing resiliency for more than fifteen years, tightening its electro-pop formula to fit smoothly into art-rock and, later, disco. Kraftwerk essentially created the sonic blueprint from which the British new romantic and techno-pop movements arose, and provided the essential technology for much of hip-hop.

Autobahn is built around an epic version of the title track, a bizarre hit single that broke the band as a commercial property in numerous countries. Enchanting in its simplicity, hypnotic in its construction, the song introduces the repetition typical of all Kraftwerk music, but the record's other pieces are less inspired synthesizer noodling.

Radio Activity coincided with a change of image that sliced away beards and hair and converted Kraftwerk from aging hippies into modern sonic engineers; greater use of repetition and purposeful self-limitation is evident, though there is no breakthrough. Exceller 8 is a compilation.

The robotic Trans-Europe Express placed mechanistic aspects of the music up front, in a brilliant epiphany of style. Rhythms and themes recur throughout, with little emotion expressed in the vocals; lyrics emphasize the dehumanization suggested by the production and delivery. Recommended.

The Man Machine further builds on the developments of Trans-Europe Express, with the one humanizing effect — background music — yielding to Star Wars noises. More work with manipulated vocals — especially on the title track and "We Are the Robots" — takes the automaton stance to the limit. Despite the science fiction themes and heavy musical repetition, the album has inventive, catchy compositions and an eerie warmth. Highly recommended.

Computer World broke years of silence, bringing Kraftwerk into a world that had largely embraced and vindicated their social and musical visions. Technically advanced machinery yields sharper, brighter music, but otherwise Kraftwerk haven't tampered with their style, except to shift their thematic content from science-fiction to industrial documentary. Excellent synthesizer pop.

The musics Kraftwerk helped launch — British post-rock industrial sounds and rhythm-is-everything dance grooves — come full circle on Side One of the long-awaited Electric Cafe. The virtually interchangeable "Technopop" and "Musique Non-Stop" take sparse, simple, unvarying percussion tracks and add bits of treated vocals, synthetic noises and quasi-instrumental effects. On the reverse are three straightforward (albeit numbingly repetitive) songs that use actual melodies, singing and lyrics. While the second side is certainly listenable, even Kraftwerk fans will find this brief album disappointingly short on ideas and content.

There are German-language versions of many, if not all, of Kraftwerk's albums. There have also been several compilations released in the UK. In 1988, Kraftwerk signed with Elektra, which reissued some of its catalogue. The Mix is a drastically remixed best-of.