Triad: -Does dance have a part in your music?
Ralf: -Yes, in Germany some modern ballet companies have used our music to create their own versions of ballet for this music.
Florian: -The choreography was like a computer dance,. like robot dance. Very mechanical in its movement on stage.
Ralf: -We also kind of dance when we perform. It's not that we actually move our bodies but it's this awareness of your whole body. You feel like a dancer.
Florian: -Your brain is dancing. The electronics are dancing around in the speakers.
Ralf: -We've had this idea for a long time but it has only been in the past year that we've been able to create what we feel is a loudspeaker orchestra. This is what we consider Kraftwerk to be, a non-acoustic electronic loudspeaker orchestra.
Ralf: -The whole thing is one instrument. We play mixers, we play tapes, we play phasers, we play the whole apparatus of Kraftwerk. That's the instrument. Including the lights and the atmosphere.
Florian: -Sometimes I can taste the sounds. There are a lot more feelings than just the feeling going through the ears. The whole body can feel the sounds.
Ralf: -Imagine the trees. What do the trees sounds like? You don't even have to make the sound audible. You can just write out the suggestions and the reader can imagine the sound or reproduce the sounds spiritually in his brain.

Triad: -Do you listen to other kinds of music other than electronic?
Ralf: -Oh yes. Sometimes we listen to the radio and we also listen to life, to noise, or to what people normally regard as noise, which is of course the source for environmental music. If you walk down the street you can hear a symphony if you are open enough to listen to it.
Florian: -That's what you learn from working with electronics. You go to the source of the sounds and your ears are trained to analyze any sound. We hear a plane passing overhead and I know all of the phenomenon that go into the make-up of the sound, the phasings, the echos. All these things that happen in nature. . .
Ralf: -. . . and the more you learn the more you enjoy it. You can always discover new sounds that you've never heard before. It's amazing sometimes when you listen to the context of the sounds. It could be the animals in the park, with the cars and the people mixing together.
Florian: -The association field is very large in music, meaning that somebody can make some special sound put them on tape and broadcast them to 50 people or 100 or 1,000 and each one of those people has a different impression of the sounds they have heard. It's not like the cinema where nearly everybody sees the same thing. I think the optical is much more fixed but when you have music you have so many different sorts of musics in the brains of the people.
Ralf: -Yes, musics. Many musics.
Florian: -When you are on stage you can focus the music to all these different brains, but you know there are a lot of different receptions. Some people fall asleep, some people are excited, others don't like it and go out, others come back, some stay in their seats. So there are a lot of different reactions to the same thing.
Ralf: -We improvise in the way it is used in Oriental and raga music. It's not harmonically structured.
Florian: -We prefer to make sounds. Sound symphonies. We use a lot of natural harmonies. . . like from the overtone scale. We try to do things simply, the simpler the better. We tried to do a lot of complicated bullshit in the past where everybody tried to play as many notes as they can in a second or a minute, but after awhile we came down to the essential thing.

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