Editing Autobahn (album) (section)

==Background and production==

Prior to the release of ''Autobahn'', [[Kraftwerk]] consisted of [[Florian Schneider]] and [[Ralf Hütter]], who had released an album titled ''[[Ralf und Florian]]'' in October 1973.{{sfn|Schütte|2020|p=42}} Prior to ''Autobahn'', electronic music did not develop a popular following in the United States with a few exceptions such as the works of fellow German band [[Tangerine Dream]].{{sfn|Van Matre|1975}}{{sfn|Schütte|2020|p=60}} According to critic Lynn Van Matre of the ''[[Chicago Tribune]]'' in 1975, "far too often much of what has been profferred has been either boring, painfully self-indulgent, or just plain painful".{{sfn|Van Matre|1975}} In comparison, Van Matre found "Autobahn" to be "what you might call middle-of-the-road electronics".{{sfn|Van Matre|1975}} Comparing the album's sounds to the group's earlier work, Michael Hooker of the ''[[Los Angeles Times]]'' noted the music of ''Ralf und Florian'' is more traditional compared to that of ''Autobahn'', noting its resemblance to the works of composers [[Morton Subotnik]] and [[Edgar Froese]] rather than the "monotonous pulse" of ''Autobahn''.{{sfn|Hooker|1975}} Kraftwerk became more conscious of their visual image and, under the guidance of their associate [[Emil Schult]], they began redesigning their look.{{sfn|Schütte|2020|p=42}} Schult, who had studied under [[Joseph Beuys]], consulted the band on their themes and image. This led to Kraftwerk having small, carefully staged promotional images for the rest of their career.{{sfn|Schütte|2020|p=42}} In a 1975 interview published in ''[[Melody Maker]]'', Karl Dallas noted Kraftwerk's music and look were "as far as you get from the Gothic romanticism of Tangerine Dream" and that "visually they also present a completely different image", comparing Tangerine Dream's Froese's "untidy red locks", and bandmates [[Peter Baumann]]'s and [[Christopher Franke]]'s "long, lank tresses".{{sfn|Dallas|1975}}

In early 1974, like their German contemporaries, Kraftwerk purchased a [[Minimoog]] synthesizer,{{sfn|Bussy|2004|p=52}} which they used alongside customized versions of the [[Farfisa]] Rhythm Unit 10 and [[Vox Percussion]] King drum machines on the album.{{sfn|McNiece|2021}} ''Autobahn'' was recorded at the group's home studio [[Kling Klang]] and at [[Conny Plank]]'s new studio in a farmhouse outside Cologne. The majority of ''Autobahn'' was made on Plank's equipment.{{sfn|Bussy|2004|p=54}} Accompanying Schneider and Hütter on the album are [[Klaus Roeder]] on violin and guitar, and [[Wolfgang Flür]] on percussion.{{sfn|Bussy|2004|p=56}} Roeder, who was a member of [[Düsseldorf]]'s music scene, had built an electronic violin that intrigued Schneider. Flür was an interior design student who had drummed for a Düsseldorf band called The Beathovens.{{sfn|Bussy|2004|p=56}} Flür stated he found initial jam sessions with the group somewhat strange but soon developed a rapport with his bandmates.{{sfn|Bussy|2004|p=57}} Conny Plank is credited as the engineer on the album but he had a key contribution to its sound.{{sfn|Brocker|2011|p=103}} Roeder later stated: "Plank played a decisive role. He mixed everything and assembled individual sounds into a whole. That was, I believe the last time that Conny did that. He then told me he did know what Kraftwerk would sound like when he was no longer there."{{sfn|Brocker|2011|p=104}}{{sfn|Brocker|2011|p=105}}