FORMED in Düsseldorf in the 1970s, Kraftwerk were pioneers of electronic music but polarised the genre.

Throughout the years they have inspired hundreds of artists, who have either taken a flavour of their sound or played homage to them.

In 2018, fans still flock in their thousands to see the German band.

However, a new reimagining of their music will be coming to Basingstoke that may even turn heads of the original Kraftwerk line-up.

Kraftwerk re:werk sees composers Charlotte Harding and Lloyd Coleman fusing together acoustic and electronic sounds and new technology to create a ground-breaking experience.

With the band's iconic Trans Europe Express album the starting point for The British Paraorchestra, the Kraftwerk re:werk show is set to blend classic orchestral music with the distinguishable sounds of synthetic pop.

This variation of the show has been a year in the making with tweaks being made throughout the rehearsals.

Coleman told The Gazette: “Charles [Hazlewood, conductor] came to Charlotte and I with the idea about a year ago and we first played it at Simple Things festival last year.

“I didn’t really know a lot about their [Kraftwerk’s] music before doing this project. Their music actually lends itself to being done in an orchestral form.”

He added: “We didn’t want to do anything as boring as just playing the album as a symphony orchestra, we have just used it as a starting point.

“Hopefully people who are familiar with their music will hear the nuances in what we are doing and that they recognise from Kraftwerk.”

All scored for a 39 piece ensemble, Kraftwerk re:werk produces a mix of symphonic and electronic instruments, from drum machines, to bass oboes and electro harps.

Each and every sound made onstage is amplified to the max, turning the orchestra into a giant synthesizer in which those sounds are crushed, filtered and distorted.

For the audience they will be hearing the sounds being changed and distorted in real time as Harding will be mixing the music live.

Coleman added: “Every member of the orchestra will have a feed going into the mixing desk and Charlotte will be manipulating the sounds in live time, which adds to the aesthetics and makes it as close to the Kraftwerk original.

“Charlotte has the power to distort or crush or delay certain sounds, or add some effects and it is a really exciting element which makes the music sound epically loud.”

If this unique experience wasn’t enough, all the players in the British Paraorchestra are part of the world’s only large-scale ensemble for professional disabled musicians,.

The Paraorchestra prides itself on redefining what an orchestra can be.

However, Coleman tells The Gazette that as a musician and composer he is always striving to make music exciting.

He added: “The way that many orchestras and the way that we play music hasn’t necessarily changed in 60 years in terms of structure.

“Often the repertoires of symphony orchestras are very much of the same composers, which isn’t a bad things as it is what I grew up on and studied.

“However, I believe we need to diversify if we are going to get a new audience into orchestral music and I feel that we need to radical in how we move the music styling forward.”

With Kraftwerk the base, the orchestra will add wild pieces by Ligeti, Messiaen and Schnittke to enhance the mayhem.

Kraftwerk re:werk will come to the Anvil on November 24. For more visit