Experimentally it works to great effect at times, even to an extent where it can almost be confused with the work of Zoviet:France, Muslimgauze or a certain Z'ev. The Residents and Throbbing Gristle aren't that far from this either (think of "Eskimo" or "Journey Through a Body" minus the obscene tape loops)... On the other hand, it is quite on par with Frank Zappa and Spirit to name a few. But then, considering the whole of the "creative mess" this is, whatever the guess yours might be, you won't miss.In all, as we now know it, this is the earliest pre-Kraftwerk material commited to vinyl. Produced and released in a sort-of limbo though, with Hütter and Schneider already re-adapting themselves as Kraftwerk slightly later (interestingly enough, the plastic cone happens to be a sole key element connecting both these incarnations, appearing on Organisation's LP as well as on Kraftwerk's next three proper studio albums).Interesting that this music doesn't really sound dated - at the same time it's improvisation (lost between jazz and prog identities) and organised playing that landslides into weird experimentation, like from a distant late night radio programme losing itself back and forth into the airwaves. You can sense - at least regarding Hütter and Schneider - that they were onto something here. They didn't know what it was or how to call it... They were given a chance to make this record and its main intention was to capture the moment the best way possible. Results vary, although nothing here is actually irritating to listen to. Just demanding.And one thing many continually insist upon is the myth this is actually a "Kraftwerk" album when in fact it's not, for all the audible reasons. And "song" titles aren't helping either. Conceptually, both are their own worlds. One was the ignition and the other was the expansion. Therefore lies a reason why Kraftwerk never gave it second thought, including this doodle affair shoulder to shoulder with their later, better known material - because this cannot be more remote than it actually is from the electronic minimalism they developed and pioneered in later years.

MUST IN OFFICIAL CD

I wonder why Ralf Hütter didn't get a composer credit on this LP. Odd.

It's too bad this, and the first three Kraftwerk albums won't see an official reissue. I can't see why the band has such a poor attitude towards anything they did pre-Autobahn? They probably were embarrassed with them. I realize the shock fans might be if they're only familiar with their post-Autobahn material. After all, if what they know is from Trans-Europe Express, Man Machine, Computer World, etc., then hear one of their early ones would likely be put in shock, and might hate them (those early Kraftwerk albums aren't exactly accessible, but neither was the early Tangerine Dream, or post-Syd Barrett pre-Meddle Pink Floyd). Pink Floyd were embarrassed of Ummagamma (particularly the studio material) and Atom Heart Mother, but they consistently stayed in print all these years (I've even seen those titles in Wal-Mart), which I'm certain wouldn't be if it weren't for the worldwide fame they achieved with Dark Side of the Moon and afterwards. Even Tangerine Dream never disowned their first four albums on Ohr, so those four albums have consistently seen many reissues through the years on bewilderingly different labels.Tone Float, which was originally never released as a Kraftwerk album, was released as an Organisation album, on RCA in the UK only, and the original LP is super-rare, and probably the rarest of anything Kraftwerk-related. It's only these unofficial reissues that the Kraftwerk name was slapped on, because it would draw more attention for the Kraftwerk collector who has to have everything from them and related.Really, I don't find Tone Float all that bad. Of course, you can't compare this to Trans-Europe Express, but then you can't do that with the first three Kraftwerk albums either. It's what it is, early Krautrock album with percussion, flute, organ, oscillators, drums, guitar. As a matter of fact, if it weren't for Ralf Hütter and Florian Schneider's future with Kraftwerk, this would have been regarded as a "long lost Krautrock" album. There's a psychedelic vibe going through a lot of the music, and while there's a frequently minimalist approach, it gives you very little reminder of something like Trans-Europe Express. I've ran across lots of albums frequently maligned that I actually enjoy. It's just a fact it's very little like what would make their successor Kraftwerk so famous (and even Kraftwerk had to struggle for three albums before they got their big break in 1974 with Autobahn). I know that my opinion might not make everyone change their mind, but then you have to decide for yourself, but I'm sure you probably wouldn't want to fork out the big money for an original LP.