Harald Grosskopf Synthesist 2010

Harald Grosskopf Synthesist 2010-77
He was very clear and only wanted to make music with people he liked… There was a lot of love between him and the musicians, it was so wonderful to work with him, he had a good gut feeling about people.I was the person in the background that put him in contact with KRAFTWERK and NEU!Juan Atkins) to do a remix of a song by NY noise makers Psychic Ills (pictured above) for its fourth installment of the series.

He was very clear and only wanted to make music with people he liked… There was a lot of love between him and the musicians, it was so wonderful to work with him, he had a good gut feeling about people.I was the person in the background that put him in contact with KRAFTWERK and NEU!Juan Atkins) to do a remix of a song by NY noise makers Psychic Ills (pictured above) for its fourth installment of the series.

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And if you’ve got it on repeat like we do, the 10-minute track seems to carry on indefinitely without ever wearing its welcome thin.

"The Cut" is the latest film by German director Fatih Akin, based on the Armenian Genocide (release date Oct 16, 2014).

We made another date 4 weeks later and did 20 more minutes.

So we had 60 minutes in total and this is our first LP, CD and digital download.

but it was in 1967 while as a member of the band PISSOFF that he met Florian Schneider.

More recently, Kranemann has formed KRAUTWERK with Harald Grosskopf who played drums on Klaus Schulze’s ‘Moondawn’ and recorded a number of albums with Manuel Göttsching as a member of ASHRA.they stand there like roboters and the music comes programmed from the computer, I do not like this.When I played in KRAFTWERK in 1971 and the years before, we used techniques between man and machine but there was a lot of freestyle, everyone could play.they had so much power, I had never heard this before. I’m a more experimental musician using wired sounds and he didn’t like it! So when I telephoned him to suggest working together, he did not want to…but 4 weeks later, he said He came into my studio, but I did not tell him before that I’d prepared it to record our whole session professionally. We had never played together before but this 40 minutes was so great, it was wonderful music.As Fritz Müller, you worked with the legendary Conny Plank, what was he like?He was a very important man, for me in the last century, Conny Plank was the most important producer, engineer and mixer in the whole world, THE BEST!No, I wasn’t interested in the Berlin School of Music, for me it was boring, it was just synthesizers going on and on and it was not enough. A band who spends 30 years not making any new music and only the old sh*t comes out every year in new clothing, this is not for me.I must make new music going into the future and when I began this project with Harald, I had the idea of starting at a point 30 years ago when KRAFTWERK stopped making music because when they now play concerts, they don’t make music…In a merger of the Schools of Düsseldorf and Berlin, Kranemann and Grosskopf transmit their cosmic sonic visions of today, tomorrow and beyond in an updated take on art school kosmische with a lively and rhythmic self-titled debut album.Following an enthusiastic talk at the 2017 ELECTRI_CITY_CONFERENCE in Düsseldorf, Eberhard Kranemann kindly chatted to The Electricity Club about the genesis of KRAUTWERK and his observations on the vibrant post-war German music scene that ultimately impacted the world’s musical landscape. There is no concept, we are just two guys who are making music for fun. I heard Harald for the first time at a festival in Sulingen where he was doing a solo performance and I had a performance in another room.

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