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“When you’re a teenager, you have a job to do – to confuse your parents. My parents were pretty supportive of me and my music, but the truth is, you don’t want you parents to understand. They’re not supposed to get it.
“At the time, if you played rock music, there were a lot of guitar solos, and things were mystical with wizards and stuff. And because bands like that were on TV so much, they weren’t shocking anymore. Some guy with long hair is playing a guitar solo – parents were used to it.
“When this album came out, it was a little scary to me. There were robots of Kraftwerk on the back cover – ‘Is that them? Nooo… Hey, wait, it is them… No, no, it’s not.’ The fact that they were from Germany and that it was about computers, which in 1981 was still very foreign to people – it was truly confusing. There was no cursing on it, there was no anger in it, and it was this robot album. So job number one was completed.
“The second thing was the sound itself. If I listened to this record on my turntable, the drum tracks, the rhythms, were these clicks. Before this, all of the rhythms I’d ever heard before were on actual drums. Kraftwerk are known as a computer band, but they’re really full of rhythm. The clicks of the needle on my turntable translated better than a microphone on a drum. The stereo speaker created a rhythm. So here was this new level of drumming and percussion – it made a huge impression on me.
“When I listened to the record on my speakers, it sounded great. Today, if I played it on a laptop or an iPad, it would still sound good. I think it’s because the bandwidth of the actual hit is still the same. It works on a phone, a computer or everywhere.”