German electronic music

German electronic music is a broad musical genre encompassing specific styles such as Electroclash, trance, krautrock and schranz. It is widely considered to have emerged in the late 1960s and early 1970s, becoming increasingly popular in subsequent decades.[1] Originally minimalistic style of electronic music developed into psychedelic and prog rock aspects, techno and electronic dance music. Notable artists include Kraftwerk, Can, Tangerine Dream and Deutsch Amerikanische Freundschaft. German electronic music contributed to a global transition of electronic music from underground art to an international phenomenon, with festivals such as Love Parade, Winterworld and MayDay gaining prominence alongside raves and clubs.

Music of Germany
General topics
Genres
Specific forms
Media and performance
Music awards
Music charts
Music festivals
Music media
Nationalistic and patriotic songs
National anthem"Deutschlandlied"
Regional music
Local forms
Related areas

Characteristics

Musical Elements

Electronic music is itself a broad term, characterised only by the specific use of electronic or digital musical instruments. German electronic music hence lacks distinctive musical characteristics other than varying usage of circuitry-based technology. Generally, polyphonic synthesisers, electronic drums, turntables and drum machines were frequent. The musical elements of German electronic music are very specific to the style and artist. Krautrock, a genre of electronic rock, involved experimental mixes of psychedelic and progressive rock with ambient music, electronic sounds, minimalist avant-garde musique concrete and jazz.[2] Kraftwerk, a famous German electronic band, utilised metronomic melodies, while Faust, another musical group, maintained minimalism by using one or two chords or riffs played at high volumes.[3]  In contrast, electroclash fused musical elements of electro, techno, new wave, punk, synth-pop and performance art to form their sounds.[4]

Local Scenes

German electronic music was characterised originally by illegal underground scenes of raves and parties. Immediately following the fall of the Berlin wall, industrial ruins and unconventional venues became unregulated centres of raw techno music.[5] Taking DJs from Detroit techno and Chicago acid house while emulating the free-spirited party cultures of Ibiza and Manchester’s Hacienda Club, German electronic music was characterised by a culture of youth, nightlife and freedom.[6] As German electronic music developed, it maintained this intrinsic characteristic, developing techno and electronic dance music into international phenomenon, with festivals such as Love Parade, Winterworld and MayDay gaining prominence.

History

Origins

The foundations for electronic music were formed in 1948-53. German, French and American figures, including Busoni, Schoenberg, Varese and Cage, formulated new compositional procedures utilising developments in science.[7] Electronic music was driven by composers striving to directly manipulate sound; experimenting with electronic circuitry, amplifiers and loudspeakers.[7] Post-WW2 electronic music began developing rapidly, starting in Cologne 1952-3. Goeyvaerts and Stockhausen experimented with the earliest sound-compositions using sine tones. Drawing from the tape music of Ussachevksy and Luening and first sound experiments by Meyer-Eppler, Stockhausen’s Electronic Study 1 was the first composition to use synthetic sounds from sine tones.[8] In May 1953, Stockhausen, Eimert and Beyer showcased the first compositions of ‘Electronic Music’ at the Cologne International Festival of Contemporary Music. They utilised a melochord, trautonium, ring modulators, octave and radio filters and tape recorders. In 1955, Eimert and Stockhausen edited the first volume, Elektronische Musique, and articles on electronic music, Texte I and II.[8] Throughout the 1950s, tape music primarily utilised, but this quickly developed into electronic amplification instead of magnetic recordings by the 1960s.[7]

Late 1960s, 70s

From 1967 to 1976, German artists experimented and drove the frontier of electronic music. Despite being isolated and largely working independently, they were driven by a common principle of seceding away from American and British rock, pop, and soul archetypes as well as embracing absolute political and emotional self-expression through electronically manipulated sounds.[9] Amon Düül, Tangerine Dream and Guru Guru were three pivotal German bands at the avant-garde of electronic music. Amon Düül’s albums, including Psychedelic Underground (1969), Collapsing Singvögel Rückwärts & Co (1969), Phallus Dei (1969), Yeti (1970) and Tanz Der Lemminge (1971), showcased anarchic fusions of rock with psychedelic, electronic and even folk sounds. Tangerine Dream’s experimentation with trance electronic music formulated their famous ‘classic’ synth-trio phase with their 1974 hit Phaedra.[9] NEU!’s fusion of rock and electronica with repetitive ‘motorik’ beats and Harmonica’s seemingly randomly-generated amalgamation of guitar, electronic and synth-pop emerged in the early 70s.

Arguably most significantly however was the prominence of Kraftwerk electronic group. Following the use of Echoplex flute eddites and primitive electronica in their albums, Kraftwerk (1970), Kraftwerk 2 (1972) and Ralf Und Florian (1973), their 1974 hit, Autobahn, drove German electronic music to worldwide prominence, reaching the Top 30 in the US and Top 10 in Britain.[9] Similarly, Can, originating from Cologne in 1968, derived rhythmic bases similarly to James Brown’s funk and strange electronic mixing to drive post-rock electronic musicality.

1980s, 90s

Throughout the 1980s, German electronic music evolved into techno, drawing from Detroit, Chicago and Frankfurt influences.[1] In the mid 1980s as Gorbachev, leader of USSR, implemented open-minded policies of perestroika and glasnost, East Berlin churches began to be used as alternative venues for concerts.[10] For example, West German punk band, Die Toten Hosen, performed illegally in 1983 and 1988 in East Berlin churches. In July 1989 the first Love Parade festival was held, a celebration of electronic music. With the fall of the Berlin wall in 1991, illegal parties of techno and dance music thrived in abandoned areas along where the wall had been.[10] This quickly transformed Berlin into a techno capital where budding and prominent DJs, artists and youth congregated from Germany and internationally, cementing nightlife culture of raves and dance.[5]

21st Century
Love Parade in Dortmund, 2008

With the onset of globalisation, German, French and American musical influences contributed into developing a world-wide popularity for EDM, a broad term covering musical genres stemming from electroclash to techno. Germany’s electronic music contributed to this global transition of electronic music from underground art to an international phenomenon, with festivals such as Love Parade, Winterworld and MayDay gaining prominence alongside raves and clubs. German electro artists and DJs continue to gain mass popularity, including Zedd, Robin Schulz, Paul van Dyk and Crazy Frog. Paul van Dyke, raised in East Germany, was majorly involved in the Berlin techno scene and is considered one of the best DJs internationally.[11] In 2018, the New York Times described Berlin as "arguably the world capital of underground electronic music".[12]

Styles Originating in Germany

Electroclash is a style of music fusing 1980s electro and new wave synthpop with 1990s techno and electronic dance alongside elements of funk and punk.[13] Also known as retro electro, tech pop and synthcore,[13] electroclash primarily utilised keyboards, groove boxes, turntables and computers to produce grooving minimal tracks.[14] More than the music, electroclash encompassed a musical culture of confident presentation: individualistic personalities and sexual freedom.[14] Emerging in the later 1990s, with Berlin becoming an international hotspot, electroclash faded as a distinctive style as it fused into tech house music.[13]

Trance is a form of electronic dance music, characterised by a high rate of beats per minute (120-160), melodic progressive synths and repetitive rhythms.[15] Typical song structure involves mixed layers developing into a build-up, a climax and then a release.[15] Originating in the early 1990s, German minimalist artists, Klaus Schluze and Sven Vath, are often acknowledged as the fathers of trance music.[15]

Schranz is a style of fast and loopy techno electronic music characterised by harsh abrasive machine-like sounds.[16] Emerging in the 1990s, Chris Liebing was at the helm of its development.[16]

Krautrock is a distinct style of progressive rock and electronic music emerging from Germany in the 1960s and 70s.[17] Reacting against commercial and mainstream Anglo-American rock, Krautrock was cemented in a cultural foundation of taking control of their collective destiny away from the memory of Nazi dictatorship.[17] Bands, Faust, Guru Guru, Can and Neu!, parodied traditional rock tropes and experimented with electronic collages, tape manipulations, monotonous rhythms and mystical atmospheres to create avant-garde music.[17] Krautrock enjoyed significant popularity in 1973 as bands including Krafterwerk and Amon Duul II toured outside Germany.[17]

Other styles related to German electronic music include Digital Hardcore, Minimal, Berlin School of electronic music and Düsseldorf School of electronic music.

Cultural Significance
Berlin Wall (June 1989)

The underground subculture of German electronic music is argued to be where the first social reunification took place.[18] Dance entrepreneurs in Schöneberg  and Kreuzberg organised ‘House’ parties, with DJ Westbam and Dr. Motte putting on acid house in the club ‘UFO’ and co-founding the electronic festival, Love Parade, in 1989.[18] Following the fall of the Berlin wall and the ensuing transitory period of legal uncertainty, growth in the network of illegal techno parties in the East exploded.[18] From unused factories, derelict bunkers, empty sections adjacent to the Wall’s remains, youth fused with techno music to form what is argued the first form of social reunification in Germany.[18] These basement places, like Tekknozid and UFO, developed into legendary clubs, including Tresor and E-Werk.[5] Without a curfew, Berlin’s clubs and bars did not close. Queer culture thrived at venues like Metropol and tourists from Europe and internationally flew in, known as ‘Easy Jet ravers’, to participate in Berlin’s explosive rave culture of techno, drugs, fashion and excess.[5]

Furthermore, German electronic music contributed into the 21st century’s globalised trend of electronic dance music and fusion into modern pop.[18] In the 1990s, increasing commercialisation and the unifying tendencies of globalisation and local ‘islands’ of cultural creativity, of which Berlin was key, helped form the explosive popularity of modern popular electronic music.[18] German electronic music contributed to a global transition of electronic music from underground art to an international phenomenon, with festivals such as Love Parade, Winterworld and MayDay gaining prominence alongside raves and clubs.[18]

German Electronic Artists

Funker Vogt is a German electronic-industrial musical group founded in 1995 with an aggressive style. Their debut album was Thanks for Nothing (1996).[19]

Wumpscut is a German Dark electro-industrial group. Formed by Rudy Ratzinger in 1991, they debuted with their album Defcon and remained active until 2017.[20]

Wolfsheim, 1992

Project Pitchfork was a Hamburg-based German Dark Wave electronic artist, inspired by New Wave artists, pop-oriented groups like SPK, and the New Wave movement of arts including Jean Michael Jean and Vangelis. They debuted with their album K.N.K.A in 1990.[21]

Wolfsheim was a German synthpop and darkwave band formed in 1987 in Hamburg, consisting of Heppner and Reinhardt, who split up in 2009 due to personal reasons. Their first album, Ken Manage, was released in 1988.[22]

Kraftwerk was a highly influential electronic pop quartet who formed the foundations for synthesiser music in the 70s and 80s. Achieving international commercial fame and success, their songs, ‘The Autobahn’ and ‘The Model’, retains a niche cultural following even today.[23]

Festivals & Events

Love Parade was central to international electronic music throughout the 1990s and 2000s.[24] First organised in 1989, it involved vans playing techno music for 300 fans.[24] However, after achieving corporate sponsorship and MTV Europe coverage, by 1997 it had 750,000-1,500,000 attendees.[24] Love Parade came to an end in 2010 following a stampede that killed 21 and injured more than 500 people.[24]

WinterWorld is an electronic music festival held in Karlsruhe, Germany.[25] Into its 17th year, WinterWorld plays techno, house, drum and base, and EDM, featuring famous electronic artists such as Chris Liebing, Pendulum and Charlotte De Witte.[25]

MayDay is another famed electronic music festival in Germany.[26] Debuting on 1991, electronic artists such as Amelie Lens and Claptone are scheduled to play in 2021.[26]


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See also

References
  1. "A Short History of German Music: From Bach to Die Toten Hosen". deutschland.de. 2018-05-18. Retrieved 2020-05-28.
  2. "An Introduction to Krautrock". The Score Magazine. 2012-06-28. Retrieved 2020-05-28.
  3. "Kraftwerk: Publikation : David Buckley : 9781847729316". www.bookdepository.com. Retrieved 2020-05-28.
  4. "Electroclash Music | Discogs". www.discogs.com. Retrieved 2020-05-28.
  5. Glynn, Paul (2019-11-09). "'Germany was first reunited on the dancefloor'". BBC News. Retrieved 2020-05-28.
  6. Glynn, Paul (2019-11-09). "'Germany was first reunited on the dancefloor'". BBC News. Retrieved 2020-05-28.
  7. Cross, L. "Electronic Music, 1948-53". Perspectives of New Music. 7: 32–65 – via JSTOR.
  8. Stockhausen, K. "The Origins of Electronic Music". The Musical Times. 112: 649–650 – via JSTOR.
  9. Rathbone, Oregano (2019-08-31). "The Boundary-Breaking Minds Behind Experimental German Music". uDiscover Music. Retrieved 2020-05-28.
  10. Peter, Beate. "Berlin Wall: how techno music united Germany on the dance floor". The Conversation. Retrieved 2020-05-28.
  11. Welle (www.dw.com), Deutsche. "The Top 10 German music acts of the new millennium | DW | 02.01.2017". DW.COM. Retrieved 2020-05-28.
  12. Wilder, Charly (2018-06-21). "In the Capital of Electronic Music, Women Rule the Scene". The New York Times. ISSN 0362-4331. Retrieved 2020-08-07.
  13. "What does Electroclash mean?". www.definitions.net. Retrieved 2020-05-28.
  14. "ELECTROCLASH". www.freewilliamsburg.com. Retrieved 2020-05-28.
  15. Norman, Ben. "Can You Tell Trance Music from Ambient Music?". LiveAbout. Retrieved 2020-05-28.
  16. "Discover Schranz: The Speed Techno Chris Liebing Played In '97". Telekom Electronic Beats. 2017-03-24. Retrieved 2020-05-28.
  17. "An Introduction to Krautrock". Progarchives.com. Retrieved 2020-05-28.
  18. Robb, David (2002). "Techno in Germany. Musical Origins and Cultural Relevance". German as a Foreign Language. 2: 130–149.
  19. "Funker Vogt". Discogs. Retrieved 2020-05-28.
  20. ":wumpscut:". Discogs. Retrieved 2020-05-28.
  21. "Project Pitchfork". Discogs. Retrieved 2020-05-28.
  22. "Wolfsheim". Discogs. Retrieved 2020-05-28.
  23. "Kraftwerk". Discogs. Retrieved 2020-05-28.
  24. "LOVE PARADE", Reveille, University of Arkansas Press, pp. 14–15, ISBN 978-1-61075-559-7, retrieved 2020-05-28
  25. "WinterWorld 2019". Festicket. Retrieved 2020-05-28.
  26. "Mayday 30/04/2021 [Event Guide]". www.electronic-festivals.com. Retrieved 2020-05-28.
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