ROBOTERWERKE/SUPERSEMPFFT

ROBOTERWERKE/SUPERSEMPFFT – 3 albums

This one gets a little confusing, prescription and I’m still not sure of exactly what’s going on here, viagra approved regarding the historical particulars. I believe that it starts with a band called Supersempfft, who released an album called “Roboterwerke” in 1979. Members of that band had to invent(?) their own electronic instruments or drum machines — and then they also mutated into a band called Roboterwerke itself, which released a few more albums in the late ’70s and early ’80s. I found the text below in an archive from some old-ass ’90s music-related message board:

ROBOTERWERKE were be a bunch of German freaks based around Supersempfft’s Dieter Kolb who, during the mid 60s, were the first to experiment with electronic music. At a time when electronic synthesisers and drum machines didn’t even exist the band had to literally invent their own instruments and if you want to know who built all these magical machines which were later excessively used by artists such as Kraftwerk, Herbie Hancock and Tangerine Dream, then look no further.

ROBOTERWERKE were the first to release music with a drum computer, a self-made model which caused Herbie Hancock to pay the band a visit to find out more about their marvellous inventions and to this day they remain very close friends. ROBOTERWERKE (under the name of ‘Supersempfft) went on to release 3 LP’s (‘Roboterwerke’ 1979 on CBS, ‘Futurist’ on RCA and ‘Metaluna’ 1978 – all adorned with spaced out cartoon Furry Freak Brothers style cartoon imagery).

Whilst Kraftwerk’s music gained international recognition as one of the first electronic acts and founders of modern dance music, ROBOTERWERKE were much more influenced by P-FUNK and acts such as PARLIAMENT and their sound takes a much more krautrock / leftfield aesthetic. Furthermore, every year the band spent a lot of time in the Caribbean and heavily influenced by the local ‘erb supply, the band developed a deep love for the local sound of steel drum music and Soca and from then onwards, they developed their own style of funky disco, electro and Soca.

I’m not personally that invested in these records myself, since I find the faux-Carribean and cutesy thing a little hard to sit through, but I do believe these albums are of historical interest, at least.

Supersempfft – “Roboterwerke”, 1979 (ZIP file)
Roboterwerke – s/t, 1979 (ZIP file)
Roboterwerke – “Futurist”, 1981 (ZIP file)

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711 Responses to ROBOTERWERKE/SUPERSEMPFFT

  1. Earl says:

    Thank you to egg city for yet another great, rare post. I would like you to know that you have saved me a LOT of headaches looking for rare records that seem to be hopelessly out of print. Of course, if I really like them, I buy them later to support the artist when I can find them at an affordable price. It beats the Hell out of paying some greedy chowder head thousands of dollars for it on Ebay, or having someone bid snipe you at the last second for a record you have been looking for about 20 years. I am sure I have a grammar error or two here, but I guess that is life (ha). Keep up the good work!

  2. kERR says:

    Another great post. Thanks for these!

  3. molto says:

    Hi egg city,
    have you seen this other roberterwerke production, a ten inch single from early eighties?
    http://square-dancing.blogspot.com/2008/07/4d-fauve-modernesex-appeal-10-bonus.html
    your doing a great job, thank you very much. I am still looking for two other adrian wagner lps from the 70ies: instincts and inca gold, both not really great but still in my memory. can you help?
    best from berlin
    molto

  4. kristina says:

    thanks for these, the Supersempfft stuff is easy to find but I have had a hard time finding the Roboterwereke stuff. Also through some sleuthing I found that they also sometimes when under the name Wunderwerke and collaborated with Afrika Bambaataa on the Time Zone single The Wild Style.

  5. Herbert Sander says:

    A good former friend of me produced Roboterwerke At that time (1978-79)he gave me the still quite fresh LP. I was impressed very much by the high dynamic of the record. I knew Dieter Kolb briefly. We had a few jam sessions and he was an excellent singer. From his interest in electronic music at that time, however, I knew nothing. I don’t live in Germany any more since the middle of the seventies and have only little contact with the Frankfurt music scene.