This chapter examines the music created by Hans-Joachim Roedelius, Dieter Moebius, and Michael Rother, under the band names Cluster and Harmonia. It makes the case that this music exists in a different relation to post-war Germany than that of Kraftwerk or Neu. Cluster/Harmonia created music deeply informed by the rural setting in which the musicians worked; in doing so, they engaged with one of the archetypal signifiers of German identity – the German landscape. The improvisatory nature of their work both allowed them to respond directly to the influence of their environment, but also created a template that proved very influential – not least on the work of Brian Eno (who collaborated with them in the mid-1970s).

The influence of black artists and music genres on Krautrock‘s pioneers fed directly into the conception of electro, Detroit techno, and Chicago house, largely developed by exponents of black communities in their respective localities. A universal funk, present in the black music that inspired early Krautrock artists, through to Kraftwerk and their industrielle Volksmusik, permeated through to black communities in America. The programmed funk of Kraftwerk‘s automated computer music spoke to black pioneers in New York, Chicago, and Detroit, sparking the development of ground-breaking genres such as electro, house, and techno. Barnes explores the lineage and transnational influence of Krautrock on America‘s black communities via the tributaries of German free jazz and krautfusion.

The Introduction first considers the enthusiastic reception of Krautrock in Britain, comparing it to the limited contemporary interest in Germany and locating the origins of a homegrown pop music in the desire to develop a pop musical countermodel to the hegemony of Anglo-American pop and rock music. Then the trajectory of Krautrock’s rediscovery beginning in the mid-1990s is traced; first, the renewed media interest from the 2010s onwards, which has resulted in several journalistic books on both the movement in general and on individual bands; next, the concomitant academic research on Krautrock that accelerated in the mid-2010s and continues apace. The Introduction further discusses the neglect of female voices in the received Krautrock narrative und critiques essentialist attempts to reduce the highly heterogenous movement. Rather, the Introduction proposes understanding Krautrock as the specifically (but not exclusively) German variety of a ‘sound of revolt‘ thriving in the politically charged period from the late 1960s to the mid-1970s. By considering German experimental music as an attempt to give voice to the longing for a better future, the conclusion links Krautrock to Ernst Bloch’s utopian philosophy.

In terms of musical style, the sizeable catalogue of music that falls under the label of Krautrock is as diverse as it is experimental. The difficulty in pinning down a specific ‘sound‘ for this diverse body of music can be traced to its roots in the period of cultural revival in the 1950s and 1960s. The chapter discusses how the desire to create a new German identity, distanced from the crimes of the Nazi present and freer from the influence of American culture, was reflected in this music: Krautrock musicians began to abandon the characteristics of both Anglo-American popular musics such as beat and rock ‘n’ roll, and the prevailing German style of the time, Schlager, endeavouring to create something entirely original. The chapter demonstrates how Krautrock was initially better defined by what it was not, rather than what it specifically was. However, these radically different approaches to newness shared certain characteristics. As the chapter argues, Krautrock musicians embraced innovative approaches to instrumentation, timbre, the voice, texture, and form, generating a new musical vocabulary that they could call their own.

This chapter argues that the emergence of Krautrock can only be understood against the background of the specific mixture of national and international impulses that shaped the West German musical scene in the late 1960s and early 1970s. What is striking is a high degree of politicisation that resulted, among other things, from the Nazi past and the position of the divided country at the interface of the Cold War. It fuelled a particularly radical student movement and at the same time legitimised a fundamental critique of the culture industry. Combined with the musical impulses from United States and Britain, this gave rise to very unique musical forms that seemed to counter the international mainstream with something entirely new.

This chapter discusses the psychedelic rock band Amon Düül. The band was representative of the West German commune movement of the late 1960s, and their communal approach to music-making was part of their alternative lifestyle. Initially, all members of the commune participated, including children and non-musicians. They also had connections to radical groups, such as the Kommune 1 political commune. Amon Düül II split off from the original group and further developed their sound, incorporating electronic instruments and ethnic influences, as well as dealing with their identity as a German rock band in subversive and humorous ways. Their lyrics dealt with dark and uncomfortable subject matter and were intended to shock bourgeois pop music consumers. Amon Düül II were unique among bands of the Krautrock era in featuring a female lead singer. The band gained a following outside of Germany during their career, and continue to play concerts today.

One of the most ambitious ruptures inaugurated by punk was the break with previous historical continuities: ‘No Future’ urged youths to reimagine current and potential opportunities, but it also declared the past invalid for contemporary developments. Yet, despite such rhetoric, punk in West Germany looked back to Krautrock for inspiration and influence. From bands as diverse as S.Y.P.H., der Plan, D.A.F., die Krupps, and others, German punks turned to Can, Neu!, Faust, Tangerine Dream, and Kraftwerk – and the engineering talents of Conny Plank – to help them develop ‘new’ sounds, rhythms, and lyrics. Krautrock is often dismissed as irrelevant to German musical developments, drawing more interest abroad than back home in Germany. Except, as the case of punk indicates, both musically and practically, Krautrock deeply influenced punk efforts at pioneering new German popular musical advances. By examining the continuities and ruptures between Krautrock and German punk, this chapter shows how the former was a critical influence on later German musical developments, and how punk drew on past musical antecedents as they revolutionised German popular music and sought to emancipate German society.

Although Krautrock music is most often categorised geographically and historically, the increasing availability of Krautrock records offers the conditions for a broad contemporary listenership. Given this accessibility of canonical Krautrock to audiences outside of 1960s and 1970s West Germany, this chapter observes a pan-European and even intercontinental production of Krautrock today. Having briefly identified relevant musical aspects of canonical Krautrock outputs, this chapter turns to contemporary Krautrock bands operating in Germany before then addressing related musicians across continental Europe, Britain, and the Americas. The chapter also considers biographical detail and the interactions of contemporary bands with prominent early Krautrockers, who themselves endorse the ongoing production of Krautrock as a contemporary, global musical practice.

Like Johnson himself, the community of his devoted readers is divided in its attitude to the academy. Some Johnsonians are enthusiastic followers of the Great Cham striving to achieve the envied status of Johnsonianissimus without the taint of academic criticism; others are academics first and devotees of Johnson second. These humanistic scholars are often concerned with the text of Johnson, whereas the Johnsonians are concerned with his personality. A contest between these biographers, on the one hand, and those bibliographers, on the other, played itself out in the history of the Yale Edition of the Works of Samuel Johnson, twenty-three volumes (1958–2018). The impetus for the edition came largely from Johnsonians, but as time wore on, the academics became gradually more influential, and their approach eventually prevailed. This chapter is a kind of archaeology of the edition and reveals this shift in emphasis over time and a difference between American and British approaches to literary criticism.

Johnson’s Lives of the Poets are a classic not only of literary criticism but of biography as well. Originally intended as brief prefaces in an anthology of fifty-eight poets from the seventeenth and eighteenth centuries, they increased in scope as Johnson worked on them, and as one commentator has said, they became “a book of wisdom and experience … a commentary on human destiny.” The lives of Milton, Swift, Dryden, and Pope are really books in their own right, and the earlier Life of Savage is a deeply felt account of someone Johnson knew well in his youth. He made good use of such documentary material as he was able to obtain, and for recent poets was able to draw upon his own memory of telling anecdotes. Above all, the Lives explore the range of human achievement, its failures and also its triumphs.

Johnson continues to offer fresh challenges and pleasures to both new and seasoned readers. This introduction sketches in some essential characteristics of Johnson as a companion, and as a critical thinker whose contemplation of time, human limitations, suffering, and the formative powers of language make him unusually contemporary – in short, a writer for life amidst a global pandemic. Drawing on his poetics of memory in Rambler 41, his remarks on Shakespeare’s King Lear, Pope’s last days, the folly of the heroic, Soame Jenyns’s metaphysics, and human failure in Rasselas, Greg Clingham suggests how Johnson engages with questions of self-knowledge, social justice (e.g., the education of women, the treatment of animals, capital punishment), and some of the political issues of the day (e.g., slavery and colonialism). In conclusion, the introduction describes the principles governing the chapters in this book, which honor the centripetal, seamless, and flexible manner of Johnson’s thinking and writing.