When you ask people about the most iconic musical road trip, they often point to America and suggest taking Highway 61 through the birthplace of blues or cruising Route 66 in California. They might also mention vintage T-Birds or Cadillacs. However, there’s a road trip that holds more significance in the history of popular music than any other, one that tells its story not just through the cities it passes, but also through the sounds of the journey itself – and the hum of the engine that propels you forward. And the best way to experience it is in a humble Volkswagen.
Fifty years ago, Kraftwerk released „Autobahn,“ a 22-minute 43-second song dedicated to the German road network. Surprisingly, this song managed to revolutionize the music industry forever. It became the band’s biggest hit in America in 1975 after being edited down to three minutes and 28 seconds. Initially, listeners were unsure how to interpret it – was it a novelty record, a quirky Beach Boys imitation, or an experimental joke? However, today we recognize it as the starting point of electronic pop music.
To truly grasp the essence of this groundbreaking record, one must drive the Autobahn itself – to hear what the band heard, see what they saw, and feel what they felt on a unique road trip unlike any other. The motorway section attributed to the song is the A555 linking Bonn to Cologne, a route frequently traveled by the band.
Hütter and Schneider, the band members, viewed everyday objects, including cars, as musical instruments. „Autobahn“ even begins with the sounds of a car – a door slam, engine revs, and a horn honk. These sounds were mimicked from a VW Beetle, a car believed to be sampled in the song. Hütter’s Minimoog synthesizer, as costly and essential to him as his car, played a significant role in creating the electronic sound of the song.
While previous Kraftwerk albums featured organ and flute, „Autobahn“ marked a shift towards electronic music. Synthesizers like the Minimoog, EMS Synthi, and ARP Odyssey were used to create futuristic sounds, while a programmable speech synthesizer called a Robovox was built to achieve the vocoder-effect on the lyrics. The song’s producer, Konrad „Conny“ Plank, played a vital role in shaping the innovative sound of „Autobahn.“ According to Flür, Plank would use various instruments to create car noises while Hütter and Schneider sat on a sofa either approving or rejecting them, as Flür described it as „like going shopping.“ Despite Flür calling Plank the true „visionary“ behind the Kraftwerk sound, Plank was bought out by the band for DM 5,000 and did not benefit from the subsequent success of the song or album. The band went on to produce all future recordings at their studio Kling Klang without Plank. Despite this, Plank played a crucial role in helping the band achieve a breakthrough moment. Kraftwerk’s albums from that point forward would be entirely electronic.
If you want to travel back in time, check out a 1975 BBC Tomorrow’s World episode on YouTube featuring a unique performance by a German band experimenting with electronic body suits and a modified drum machine. This technological leap, along with their work on Autobahn, demonstrated Kraftwerk’s ability to manipulate preset rhythms and showcase the Mensch-Maschine concept.
Although Autobahn may symbolize travel and freedom for Kraftwerk, there are differing interpretations of why they chose to write a song about a road. Some critics view it as a way to reclaim the German infrastructure story, while others see it as a more optimistic portrayal of their home country. The autobahn represents more than just war and nationalism; it symbolizes cultural exchanges and freedom.
Despite their influence and groundbreaking work, Kraftwerk remains relatively unknown in their hometown of Düsseldorf, where another band, Die Toten Hosen, takes the spotlight. The lack of recognition in Düsseldorf contrasts with their significant impact on electronic music worldwide. Kraftwerk’s Kling Klang studio in Düsseldorf was a hub of creativity, where they produced iconic albums and explored new sounds, including their work on Autobahn. Additionally, Plank’s studio in Cologne played a role in shaping their unique sound, with a distinctive mixing desk designed by Plank himself. Plank would bring his 16-track mobile recording truck to Kling Klang for Autobahn, parking in the yard and connecting his mixing desk directly to the building. The Kling Klang studio, located at Mintropstraße 16 in Düsseldorf, now houses a different business, with only a traffic cone hinting at its musical past. The autobahn journey from Düsseldorf to Hamburg, as described by Flür, inspired a visit to former industrial sites in Bottrop and Castrop-Rauxel, where the sounds of industry have since faded. A trip to the LWL Industrial Museum Zollern near Dortmund allowed for a closer connection to the industrial sounds referenced in Autobahn. The iconic autobahn sign, featured on the album sleeve, was originally a painting by Emil Schult, reflecting the band’s vision of combining visual and musical elements into a „total work of art.“ This concept was realized during Kraftwerk’s 3D film shows at the Museum of Modern Art in 2012. The visuals shown during the performance of Autobahn were particularly captivating, as they were based on Schult’s original painting and were designed with input from Schult himself. When the show came to Tate Modern’s Turbine Hall the following year, I experienced driving on the autobahn for the first time. I watched Volkswagens, Mercedes, and large trucks pass by my side as the 800 passengers with me reached out to touch them. It was a perfect blend of music, art, technology, design, and film, all stemming from Schult’s painting.
A sticker was added to Schult’s original album sleeve featuring the blue and white autobahn symbol, which was later used for all Autobahn releases. This simple design had a significant impact, with designer Peter Saville citing it as a source of inspiration for his work. For me, the autobahn symbol leads me towards my final destination, where I eagerly drive with the song playing loudly in the car.
The autobahn, often associated with freedom, may have lost some of its symbolic value since the 1970s. Roadworks and lack of infrastructure investment have affected parts of the autobahn, while protests in Berlin over road extensions have implications for the city’s nightlife. Despite challenges, the autobahn remains a powerful symbol.
Kraftwerk’s decision to sing in German was a bold move, reflecting their desire to reconnect with Germany’s artistic past. The band’s exploration of their history through music was a deliberate choice, emphasizing their unique identity. As Hütter explained, the German language’s rhythm and structure aligned with Kraftwerk’s vision.
Speaking with Hütter, I learned about the band’s experiences traveling on the autobahn, often in darkness. The autobahn’s influence on their music and journey is evident in their work, capturing the essence of driving through sound. The rhythmic beats of Autobahn reflect the sense of motion and trance induced by long road trips, creating a unique musical experience. Es ist kein Wunder, dass Schneider einmal behauptete, dass die Band schneller spielte, wenn sie mit dem Autobahn zum Gig gereist waren. Ich drehe die Lautstärke auf und lasse den Beat mich zu den schimmernden Lichtern von Hamburg treiben.
Die deutsche Autobahn hat mich vom Geburtsort Beethovens in Bonn bis zum mutmaßlichen Geburtsort der Beatles in Hamburg gebracht. Die Verbindung dieser beiden Orte ist die Geschichte eines der gleich lautstarken großen Knalle der Musik, mit Nachbeben, die immer noch zu spüren sind.
Andy McCluskey von Orchestral Manoeuvres in the Dark sagt, dass die Veröffentlichung von Autobahn war wie die Nachricht vom Tod von JFK – jeder erinnert sich daran, wo er war, als er es zum ersten Mal hörte. In seinem Fall war er in seiner Badewanne und hörte ein kleines Transistorradio. Ein Jahr nach seiner Veröffentlichung fand er sich auf dem Konzert der Band in Liverpool wieder, noch immer erst 16 Jahre alt und dachte: „Das will ich auch machen.“
Deutschland war plötzlich auf der musikalischen Landkarte. David Bowie – der früher auf der Autobahn fuhr und dabei das Album hörte – zog nach Berlin, um die elektronisch beeinflussten Alben Low, „Heroes“ und Lodger zu machen. Brian Eno zog in das ländliche Dorf Forst, um mit der einflussreichen Avantgarde-Band Harmonia aufzunehmen. Conny Plank wurde ein führender Produzent elektronischer Popmusik und arbeitete mit Künstlern wie Ultravox, DAF und den Eurythmics.
Die Welt hat eine Weile gebraucht, um aufzuholen – es dauerte weitere drei Jahre, bis die nächste ähnlich bahnbrechende Veröffentlichung in der elektronischen Musik in Form von Donna Summer und Giorgio Moroders I Feel Love eintraf. Letztendlich wurde der Track jedoch als Sprungbrett für unzählige Genres angesehen – von New Wave bis Electronica. Juan Atkins nannte es einen Teil seiner Reise zum Pionier des Techno. Unterworld und Stereolab sind nur zwei der Künstler, die es gesampelt haben.
Autobahn hatte jedoch mehr Einfluss auf die Richtung des Pop als nur das. Im Gespräch mit Uncut im Jahr 2017 sagte Flür, dass der Song dem Nachkriegsdeutschland etwas gegeben hatte, was es dringend brauchte: „Etwas Positives und Jugendliches, das uns vom Gestank der Vergangenheit befreite.“
Ich verlasse die Autobahn zum letzten Mal, fahre mein Auto zum endgültigen Ziel und schalte den Motor ab. Den Straßen zu folgen, die Kraftwerk einst genommen hat, war aufregend – und lehrreich. Aber es kann dir nur begrenzt etwas über ihre Musik beibringen. Wir können alle den blau-weißen Schildern zur nächsten Stadt folgen, aber nur einige von uns kennen den Weg in die Zukunft.