Although I don’t want to come across as a purist, all that ‘original is best’ nonsense, I just prefer a certain part of their career in the same way as I don’t like all of Miles Davis’ or Beach Boys albums. My favourite material is from Autobahn to CW, I can take or leave the rest bar the odd track. The visual thing is just a personal thing that I can’t shake any more than someone who works in film will mentally desconstruct a shot or effect whilst watching a movie, it’s just hardwired now and, try as I might, I can’t ‘not see’ it.

The exclusivity thing is baffling, both in Dusseldorf and at the Tate, they could have got several hundred more people in at both venues. The limit on tickets for shows etc. I suppose they are trying to stop touts and that’s admirable but when there is space in the room for more people it’s just odd. At all the gigs, I could have got right to the front as easily as I could walk up to a bar.
Of all the ‘celebs’ I spoke to, they were all there reviewing the gig for certain radio or magazines (OMD were doing 8 interviews about Kraftwerk in the next week alone) that’s be be expected really, the first concert is going to be the most heavily reviewed. On the legacy thing, I think it’s time the music press woke up personally, there needs to be a shift away from this stranglehold of the Beatles/Stones/Who/Dylan/Doors/Hendrix/Clapton fixation and realise that there’s more out there. I’d say Kraftwerk are now un-arguably one of the most influential band of the last 40 years as they permeate so much music outside of the rock and pop world.

I really can’t see any problem with their curated presentation – it makes perfect sense to me that they would excise those first albums. Minimum Maximum says it all. And, unlike you, I love Expo 2000 and TdFS as much as their earlier work. Agree that the quality of some of the visuals is below standard, first noticed on the MinMax concert dvds, the only thing I can think is maybe that’s a little endearing, that Kraftwerk really remain a non-corporate, non-’airbrushed’ entity.

My one hesitation is the exclusivity of these events and the appearance of celebs and media. The group are clearly focusing on repositioning themselves in terms of legacy, staking a claim quite rightly to be considered outside of just music, to be taken seriously on an aesthetic level by playing art galleries. This plays against the sense of Kraftwerk being democratic and potentially available for everybody. I don’t think I’m explaining that very well and it’s only a minor concern – after all, anyone can still buy their records, watch and access on the web, etc.