Azealia Banks, now calling Berlin home, has sparked debate with her bold declaration that “Kraftwerk are garbage.” As the self-proclaimed Queen of Unpopular Opinions, Banks not only expresses her dislike for the German electronic pioneers but also asserts that Donna Summer, rather than Kraftwerk, is the true innovator of techno music. She argues, “The Germans always pretend that Donna Summer was not the true first techno artist of history.”
Both Kraftwerk and Donna Summer emerged on the music scene in the late 1960s. Kraftwerk’s early days featured them under the alias Organism, while Summer debuted under her birth name, Donna Gaines, notably with a German rendition of ‘Aquarius’ from the musical ‘Hair.’ Their respective careers blossomed in the mid-1970s, Kraftwerk in 1974 with ‘Autobahn,’ and Summer in 1975 with ‘Love to Love You Baby,’ collaborating with Italian producer Giorgio Moroder.
Donna Summer’s global breakthrough came with the groundbreaking track ‘I Feel Love’ in May 1977, which was recorded in 1976. At that time, Kraftwerk’s established electronic sound had already made waves with ‘Trans-Europe Express.’ Though the narrative often suggests that Summer drew inspiration from Kraftwerk, her track distinctly revolutionised electronic pop and club music’s trajectory, representing a significant leap forward in the genre.
The question of whether Donna Summer was the first techno artist is nuanced. ‘I Feel Love’ is hailed as the first track blending a four-on-the-floor beat with synthesizers, paving the way for future electronic styles. However, Kraftwerk was already exploring exclusively electronic music, making their contributions essential to the evolution of techno.
Despite her critiques of Kraftwerk, Banks also voices appreciation for German artists she admires, declaring that Klaus Nomi is superior, albeit “more fearsome,” and expressing her admiration for Roman Flügel. Fans can catch Azealia Banks performing in Kalorama Madrid this coming June.
Azealia Banks has stirred controversy by calling Kraftwerk “garbage,” asserting that Donna Summer is the true pioneer of techno music. Both artists rose to fame in the 1970s, yet their influences and contributions prompt a nuanced discussion on the origins of electronic music. Banks expresses admiration for Klaus Nomi and Roman Flügel while preparing for her upcoming performance in Madrid.
In summation, Azealia Banks’ provocative statements ignite a discussion on the contributions of Donna Summer and Kraftwerk to electronic music. While Banks champions Summer as the pioneering techno artist, the historical context reveals a complex intertwining of influences from both artists. Ultimately, the debate illuminates the evolving narrative surrounding electronic music’s legacy, with both Kraftwerk and Summer occupying significant, albeit distinct, roles in its history.
Original Source: umusic.digital
