Discogs: https://www.discogs.com/artist/4654-Kra ... 500&page=1
RYM pisze:At this point, electronic music was still seen as something of a novelty, represented in the public consciousness by the likes of the massively successful Switched-On Bach or "Popcorn / At the Movies". Autobahn arguably changed all this. Released in 1974, it represented a seismic shift for music. One review at the time asked, "It's good - but is it rock?"; the confusion of which tells us just how cutting-edge Autobahn was in popular music. It became a worldwide hit.
In the wake of this new popularity, Kraftwerk became a far more conceptual band. Not only were they playing machines, they claimed - the machines were also playing them. This was highlighted by a press conference called by the band to promote their 1978 album, The Man-Machine - in one of popular music's most famous pranks, robots, designed to look like the members of the band, appeared in the place of the real members. It was both an ironic response to those who claimed that the band's 'robot-pop' lacked humanity and could have been written by machines, and a gentle mockery of the wider world's stereotype of Germans as efficient and cold.
Since 1981's Computer World, which ended one of popular music's longest stretches of almost unbroken critical acceptance, the band have only toured and released new material very sporadically. Reportedly frustrated at the increasingly lengthy gaps between albums, Flür and Bartos left after the release of Electric Café to pursue their own projects. Meanwhile, the remaining duo continued to develop their obsession with cycling, culminating in their last major release of original material, Tour de France Soundtracks in 2003. Schneider quit the band in 2008, leaving only Hütter from the classic lineup.