HARDHOUND

Kraftwerk – Autobahn (UK version)

Author: Colin | Published: 10/2/13

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This post is republished with love in memory of my father, John Buttimer. 1 February 1923 – 8 February 2013
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autobahn-1

kraftwerk-autobahn-1

kraftwerk-autobahn-1

kraftwerk-autobahn-1

kraftwerk-autobahn-1

Artist Kraftwerk
Title Autobahn
Label Vertigo
Year 1974
Designer Unknown, possibly Barney Bubbles
Music Electronic
Notes This is an absolutely iconic design and it’s an oddity because this design was only distributed in the UK. We’ll post about the design for the rest of the world in a few days.

I first saw this version at the tender age of 8, in 1974, when my dad brought it home. A lifelong classical music stalwart, Autobahn was his one concession to popular music and it had a profound effect on me. I listened to the 22 minute title track over and over again on his headphones, loving the synthesized sound of the cars whooshing from one ear to the other, right through the middle of my head. The bridge that crosses the two white lines always seemed to symbolise my headphones listening in to the roar of traffic martialled into a modern-day symphony. The two pieces of brown sticky tape affixed to the lower corners makes my copy unique. I recently asked why they were there and was reminded that my Dad had to repair the sleeve after numerous borrowings in my teenage years. It’s the nearest thing to a family heirloom I’ve got.

Autobahn is fascinating because of its translation of the concept of travel into musical form. This transmission from one medium to another wasn’t a new one, but the extent to which it reduced the distance between musical composition and referent was and remains striking. Its central motif isn’t a melody, but the sound of cars approaching and moving away from the listener. The design perfectly encapsulates this by appropriating the motorway symbol and placing it so that it fills the cover from top to bottom. There is no end to the journey in graphic terms, it’s implied that the road continues outside the frame of the cover. Similarly the music ends with one more passing car rather than the sound, say, of an engine being turned off (Autobahn’s railway counterpart, Trans-Europe Express, ends with the sound of train brakes squealing).

Typographically, the design is fascinating as well. The letters R, W, R, A, U, A and H in the title are escaping from their settings, literally tracing new roads, setting off for destinations unknown. At the same time they’re dancing – the W, U and H waving and punching the air and the Rs and As stretching their toes out. The letter forms presage the tremendous influence the group would have on dance music and on the musical world as a whole. Similarly, the icon-focused design was the approach the group would take in its latterday releases, except that from Man Machine onwards they made the four members of the group integral to each design. The graphic below is from the group’s yet to be released career retrospective:

katalog

Autobahn is an utterly brilliant synergy between music, concept and visual design. One last thing: there’s no designer credit on the Autobahn sleeve which seems fittingly utilitarian.

See also:
- Kraftwerk – ephemera
- Kraftwerk – Expo 2000
- Discussion: Who designed this version of Autobahn? on { feuilleton }
- Autobahn (non-uk version)
- Minimum Maximum CD/DVD box
- Neon Lights 12″
- Pocket Calculator 7″


Comments

  1. Colin

    So sad to hear about your father – may you remember him in the happiest times.

    I have never understood why anything else would have been used as a cover for this LP. The european version is like a MFP cover (when Autobahn was re-released in the UK in the nineties, I actually thought it was a cheapo version). And yes, it looks and sounds very much like a BB cover.
    The Catalogue box set is great – though I would thought that to have Japanese style mini-LP covers of the original designs would have been much more appreciated by the fans.

    Comment by Conrad — February 10, 2013 @ 9:37 am
  2. Are strikingly absent from the list the first two studio albums with just either a red or green roadwork cone on the cover. Allways difficult to find and fabulous insight into hiw they found their sound.

    Comment by Brian stevens — February 10, 2013 @ 10:40 am
  3. picked up the french version in a swiss record shop a while back. the one with bearded violinist klaus roeder on the rear sleeve..
    http://www.discogs.com/viewimages?release=543705
    sorry to hear about your dad :-(

    Comment by Nick — February 10, 2013 @ 11:18 am
  4. Sweet post. Sorry to hear about your father. How cool is it that you were able to share this music appreciation with him…that is a rare and special thing.

    Comment by Hans — February 11, 2013 @ 6:54 pm
  5. Sincere thanks for your kind comments. I’m planning to play it as one of three tracks at his funeral next week…

    Comment by Colin — February 12, 2013 @ 8:56 pm
  6. So sorry to hear about your father Colin, and we were only talking about this last week after the gig, I had no idea. Hopefully hearing the song will bring good memories

    Comment by kevin foakes — February 15, 2013 @ 1:05 am
  7. Thanks Kevin.

    Comment by Colin — February 16, 2013 @ 5:21 pm
  8. I am really sorry about your father. Love the website, been visiting since first post and it’s still great knowledge base and source of inspiration. Keep it up and take care.

    Comment by Bartosz — February 20, 2013 @ 12:38 am
  9. Thanks Bartosz, I’ll do my best to!

    Comment by Colin — February 20, 2013 @ 1:46 pm

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