Why do you think the electronic music scene is in a slump?

It’s been almost six months since the release of the first-ever full-length album by Japan’s electronic music pioneers Kraftwerk.

But the group have yet to recapture their former glory, and that is starting to look increasingly unlikely.

“It’s not as if we’ve been around for forever, but it’s still pretty good,” said guitarist Nick Mason, who is currently touring with his band.

“It feels like the first year we’re not making anything really great.

We’re all just hanging out and making stuff.”

While the genre has experienced a resurgence in recent years thanks to a boom in young Japanese musicians and their burgeoning social media platforms, Mason and his bandmates say that the past six months have been the most difficult time for the electronic scene.

“The first time we were around, I was like, ‘Holy shit, this is not what I wanted,'” said Mason.

“But the next time I saw Kraftwirk, I thought, ‘Wow, that’s so cool.'”

It has been hard for us because we all love Kraftwolk, but we all also want to be around our friends.””

So we’ve had to be really careful and really careful to make sure we’re on the same page as everyone else.”””

You don’t get to do that when you’re playing live, and it’s hard for the people you love to know you exist.

So we’ve had to be really careful and really careful to make sure we’re on the same page as everyone else.””

You just don’t want to feel like you’re not part of something, because you want to,” Mason said.

“I think it’s been a really difficult time.

We’ve been really lucky.

I don’t think we’ve ever had to worry about our lives being like that.””

There’s always been this sense of hope in electronic music,” Mason added.

“We know there’s hope in it.

But there’s always a feeling of anxiety, because it’s such a new genre.”

While Mason and drummer Davey Havok both feel that the group is “in a good place” in terms of their career and playing, they are also aware that the music will never be as good as it used to be.

“We’ve been through a lot,” Havok said.

“[Kraftwolk] was the first time I really felt like I was playing with my heart in my throat.

And Kraftwok is the first thing that really got me to relax.””

The first thing we did in the studio was record [Kraft’s] ‘Aurora’ album, which was the biggest hit of our careers,” Mason agreed.

“That really helped us.”

“I think we just want to put our own stamp on Kraftwolks music,” he added.

“Krafts music is a huge part of who we are as musicians, and we want to represent Kraftwols music, but at the same time we want Kraftworks music to be able to represent us as well.”

While there is still hope for electronic music in Japan, there are still many challenges ahead.

“When we were making ‘Papa No. 1,’ we were trying to do something completely different,” Havosdek said.

But it was “so much harder than it should have been, and the things we were doing, the things that we were working on, were just a bit of the craziest stuff that we could do.”

“That was just one of those things where we were like, we don’t have to make the same thing,” Havoksdek continued.

“‘Papa’ is kind of a bit like Kraftwijk.

‘I Wanna Be Your Baby,’ is like Kraft.

‘Baby Love’ is like a Kraft album.

I really hope we can find a balance.”