A concept album exploring themes of broadcast communications, Radio-Activity marked Kraftwerk's return to more obtuse territory, extensively utilizing static, oscillators, and even Cage-like moments of silence to approximate the sense of radio transmission; a pivotal record in the group's continuing development, the title track – the first they ever recorded in English – is their most fully realized electro-pop effort to date, while "The Voice of Energy" precipitates the robot voice so crucial to their subsequent work.

The brothers Giorgio and Martin Koppehele wrote and produced for and with Plácido Domingo, Alan Parsons, Boy George, Midge Ure, Bro'Sis, Suzi Quatro, CC Catch, Shari Belafonte, Chris Thompson, Splash, Odyssey, Nicole, Michelle and Lou Bega. They wrote and produced for advertising jingles, dance projects, music for films, television series as well as for soundtracks and exhibitions such as the Titanic exhibition in Hamburg. The music of Lichtmond combines electronic music with ambient and rock elements that flow into each other. Alan Parsons called Lichtmond as the modern-day Tangerine Dream or Kraftwerk.

Emotional was released in the U.S. the same year as his breakthrough album, Falco 3, which included the hit "Rock Me Amadeus." It is hard not to consider that this album (on Sire, not A&M, the home of his hit record) was rushed to market to capitalize on his one-hit wonder status. Standout tracks include the title track, "Crime Time," "The Kiss of Kathleen Turner," and a follow-up to the banned song "Jeanny" called "Coming Home (Jeanny Part II, One Year Later." "Cowboyz and Indianz'" contains some interesting Star Wars allusions. Not essential by any means, even for somewhat serious fans. However, a surprisingly solid new wave album that is quirky and fun. A great used-record find.

Continuing to work with Conny Plank, who once again provides a compelling job as producer and engineer, Kraftwerk went right ahead and named their new album after their two remaining members – an understandable enough move. Like the first two albums, Ralf and Florian still has not seen official re-release, for all that one can practically taste Kraftwerk's leap into the beyond on it. Given that this was the last album before the most famous lineup was formed and Autobahn was released, it's appropriate to listen to Ralf and Florian as a harbinger for the future, though perhaps all too easy. Take it on its own terms – a further investigation of electronic possibilities in a more open-ended, less constantly structured fashion than would be the case later – and Ralf and Florian becomes most enjoyable.

Following collaborations with Paul Van Dyk and Schiller, Solo is the first full-length studio release from German singer/songwriter Peter Heppner since his acrimonious departure from influential synth pop outfit Wolfsheim. Produced by Peter-John Vettese (Annie Lennox) and Jose Alvarez-Brill (Kosheen), its ten English and German-language tracks include the single "Alleinesein."

A touch more immediate and song-oriented than its predecessor, but no less enchanting and lovely to hear, Deluxe again features the trio experimenting with a variety of approaches, most particularly including vocals here and there for the first time. There's also a guest musician helping out, namely Mani Neumeier from Guru Guru, and while he's not playing all the time, where he does appear, as on the wonderful lengthy jam "Walky-Talky," a blend of his percussion and swooping guitar filigrees and keyboards, it's a fine choice. His slow, subtle build throughout the song helps send it higher and higher without seeming to. The various vocals really do fit the music in a lovely way, and it's little surprise that Brian Eno might have felt even more of an affinity with the group than before, being non-musical but still affecting, like mysterious chants or barks…