![]() ![]() Perhaps more than almost any other music, krautrock defines and is defined by its context. As it was, their rehabilitation of what it meant to be German in post-war Europe began abroad, a cultural export that marked a radical rupture from the lederhosen glad glibness of Schlager and the false claims any German artists had on the ‘blues’, a music and a sense of being about as foreign to the German sensibility as autobahns would have been in the Mississippi delta. ![]() Their rejection of over-cooked Anglo-American rock forms was wilful and would have been controversial in Germany, had any one really been paying attention. ![]() Although it was, as David Stubbs explains, a ‘posthumous music’, categorised as such long after the moment had passed, bands like Kraftwerk, Can and Neu! couldn’t have been more self-conscious in their attempts to redraw a sense of German cultural identity. There’s a paradox at the heart of the music first disingenuously and now somewhat more affectionately known as krautrock. We caught up with music critic and author of a new definitive history of krautrock David Stubbs to find out more about one of the most defining eras in modern music. ![]()
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