At first glance, Kraftwerk's The Man-Machine (1978) and Big Black's Atomizer (1986) seem to occupy opposite ends of the musical spectrum. One is sleek, disciplined electronic modernism; the other is abrasive, industrial guitar violence. Yet beneath the surface, they share a surprising amount of DNA: a fascination with machines, repetition, precision, and the deliberate removal of traditional "human" feel from rock music.
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