Can
Can was an experimental rock band formed in West Germany in 1968. Can constructed their music largely through free improvisation and editing, which bassist Holger Czukay referred to as "instant compositions". comprising bass guitarist Holger Czukay, keyboard player Irmin Schmidt, guitarist Michael Karoli, and drummer Jaki Liebezeit, along with original member David Johnson. Johnson, an American composer, flutist, and electronic musician, left at the end of 1968 after the band had begun taking a more rock-oriented direction.
Can was an experimental rock band formed in West Germany in 1968. Can constructed their music largely through free improvisation and editing, which bassist Holger Czukay referred to as "instant compositions". comprising bass guitarist Holger Czukay, keyboard player Irmin Schmidt, guitarist Michael Karoli, and drummer Jaki Liebezeit, along with original member David Johnson. Johnson, an American composer, flutist, and electronic musician, left at the end of 1968 after the band had begun taking a more rock-oriented direction.
Member of: Jaki Liebezeit
Auf Der Einbahnstrasse Live In Koln
Two long studio sessions recorded in 1971 in the band's hometown of Koln by the classic Can lineup of Damo Suzuki, Holger Czukay, Michael Karoli, Irmin Schmidt and Jaki Liebezeit. This is the '70s Krautrock scene's most iconic band at their absolute creative peak and caught in action during the epic Tago Mago sessions. A full catalogue of atmospheric minimal grooves that would influence generations to come.
Landed
If you got a quid for each time Can were referenced as influencing a given band or artist, we'd have taken the Bank Of England down years ago. Remastered to a clarity that will come as a shock to those who've been suffering the original cd releases, 1975's 'Landed' is notable for marking the return to Can's debut line-up (barring Malcolm Mooney of course), following the love-sick Damo Suzuki's departure. Their 7th full-length release, 'Landed' also saw the band getting their mitts on a 16 track …
Flow Motion
The second of Can's three Virgin albums, 1976's Flow Motion, is a divisive record in the group's canon. It was their most commercially successful album (the opening track, "I Want More," was released as a single in the U.K. and actually charted, thanks to its smoothly percolating near-disco groove, which makes it resemble a late-period Roxy Music hit), but many fans dismiss it as the group's feint toward commercial success. That fluke hit aside, the charge doesn't really hold water. There's a ne…
Saw Delight
1977's Saw Delight is the German progressive group's farewell. Percussionist Reebop Kwaku Baah and bassist Rosko Gee from a late-era lineup of Traffic to add a sort of Afro-Cuban jazz feel to their sound. Similarly, Rosko Gee's handling of the bass duties (which he performs superbly throughout, adding an almost Mingus-like rhythmic intensity to even the loosest songs) frees Holger Czukay to add electronics and sound effects to the proceedings. The opening "Don't Say No" recalls the controlled fu…
Out Of Reach
All but unknown to most but the most hardcore Can fanatics, 1978's Out of Reach is one of the group's rarest albums. This is due in large part to the fact that bassist Holger Czukay left the band before the recording sessions, and drummer Jaki Liebezeit has a greatly reduced role, leaving most of the rhythm duties to percussionist-come-lately Reebop Kwaku Baah. As on the group's proper swan song, 1977's Saw Delight, new bassist Rosko Gee largely leads the group, and his jazz-inflected playing is…
Can 1978
Mute brought back more Can than any krautrock fan could possibly handle with the 'Can Vinyl Box', which featured seventeen Can records reissued in one bundle; now each record is stepping out on its own. The self-titled 'Can' is the band's eleventh record, released in 1978 and unfamiliar to most. Like 'Out of Reach', little of the music, if any at all, is attributed to the band's founding member Holger Czukay, who stepped back in the writing and composing department. It would be Can’s last album …
Rite Time
'Rite Time’ was originally released in 1986 and has been evaluated as one of the classic Can albums. "An unexpected reunion from Can (made even more unexpected by the presence of original singer Malcolm Mooney, who left the band in 1969), 1989's Rite Time is in large part a return to form for the group, especially when one considers how weak Can's last few '70s albums were. Wisely, the quintet doesn't try to replicate the sound they created over two decades before on albums like Monster Movie. I…
Anthology (Remastered)
Having originally surfaced in 1994, Can's Anthology still serves as a pretty comprehensive, wide-ranging sampler of the band's key works, and the material's never sounded better - benefiting from a beautiful remastering treatment. Spanning Can's work from 1969's Monster Movie right up to 1991's soundtrack for the Wim Wenders film Until The End Of The World this two-disc compilation takes in a variety of line-ups, with the first disc drawing from the band's work up until 1974, with particular emp…
Can
Mute brought back more Can than any krautrock fan could possibly handle with the 'Can Vinyl Box', which featured seventeen Can records reissued in one bundle; now each record is stepping out on its own. The self-titled 'Can' is the band's eleventh record, released in 1978 and unfamiliar to most. Like 'Out of Reach', little of the music, if any at all, is attributed to the band's founding member Holger Czukay, who stepped back in the writing and composing department.
Aksak
Aksak is the exciting encounter of two exceptional musicians from different generations: legendary drummer Jaki Liebezeit (Can) and percussion wizard Holger Mertin (Drums And More). Like a zen master of the minimal, repetitive beat, Liebezeit - famous for his hypnotic precision - creates with only few sound colours the perfect matrix for Mertin's unleashed playing on any imaginable percussion instrument. The result is a mighty, complex pulse - the groove of a better world. On the basis of that m…
Flut
Jochen Irmler and Jaki Liebzeit met in the town of scheer last july to prepare for an upcoming concert at the slaughterhouse in sigmaringen as well as for a subsequent appearance in the kammerspiele in munich. however, they quickly decided to stop rehearsing and instead record flut - an album that regroups six improvisations between organ and percussion. flut adds another chapter to irmler's collaborations, which aim to explore, whenever possible, the hidden potential that lies dormant in the cl…
Soon over Babaluma
With Suzuki departed, vocal responsibilities were now split between Michael Karoli and Irmin Schmidt. Wisely, neither try to clone Mooney or Suzuki, instead aiming for their own low-key way around things. The guitarist half speaks/half whispers his lines on the opening groover, "Dizzy Dizzy," while on "Come Sta, La Luna" Schmidt uses a higher pitch that is mostly buried in the background. Holger Czukay sounds like he's throwing in some odd movie samples on that particular track, though perhaps i…
Unlimited Edition
Most bands stick out a 'unreleased and bonus bollocks' album when they're bereft of new ideas and need some filthy lucre to keep the country estate fully stocked with coy carp. You get the feeling this was the last thing on Can's mind. Having amassed a serious quantity of recordings between 1969 and '74, 'Unlimited Edition' (now giving a thorough spring-clean for this remastered release) was put out on a 15,000 only run to proceed 'Soon Over Babaluma', portraying a much rougher Can that tended n…
Live at Aston University, Birmingham
Extremely rare recording of Can performing live at Aston University in Birmingham, on March 4, 1977 and featuring the new addition of Rebop Kwaku Baah (the Ghanian percussionist well-known for his work with Traffic, Steve Winwood, Eric Clapton, etc.) and Roscoe Gee (a Jamaican bassist who had also recorded with Traffic). Holger Czukay, now freed from bass duties, began experimenting with an array of electronic sounds, which he also began adding to the mix in part to counterbalance Can's …
A Double Promo Album By CAN
Vocalist Damo Suzuki’s departure from CAN in 1973 had forced the band to re-evaluate their sound. Now with Michael Karoli and Irmin Schmidt sharing vocal duties, the band had also begun drawing on influences from disco and glam. While still remaining staunchly outside the mainstream, they undoubtedly became more accessible to a wider audience, and soon had a huge fan base in the UK. In fact, just a few months after playing the live show found on this double LP (recorded in Lyon in January …
The Lost Tapes
Limited Vinyl Box Set, includes 5 x 180GM vinyl LP's, 28 page 12" booklet and a 24" poster - includes 30 previously unreleased tracks* "The Lost Tapes was curated by Irmin Schmidt and Daniel Miller, compiled by Irmin Schmidt and Jono Podmore, and edited by Jono Podmore. When the legendary Can studio in Weilerswist was sold to the German Rock N Pop Museum, they bought everything, including the army mattresses that covered the walls for sound protection, and relocated it to Gronau. Whils…
Future Days Live
This album is made up of one long jam session recorded live-in-studio at Inner Space in Cologne during the 1973 Future Days sessions. More ambient than their previous efforts, Future Days was also singer Damo Suzuki's final album with Can. Members of Can had first encountered the self-defined '20th century nomad,' Kenji 'Damo' Suzuki, a few years earlier on the streets of Cologne. It was shortly after original Can vocalist Malcolm Mooney had left the band and they were left without a singer…
Delay
Probably the rawest krautrock release. Malcolm Mooney's singing is trance inducing yet soulful, keeping the songs together when everyone else seems to freak out. Nineteen Century Man an it's over the top distortion, combined with the 'Inner Space' mantra, and it's half a minute jazz impromptu prelude Pnoom, push the listener into bliss every time.
Monster Movie
CD reissue of the first Can album, originally issued in 1969. "Can's debut is the only full-length, proper release to feature original vocalist Malcolm Mooney, whose free-form ranting is matched by a raw, aggressive dynamic unlike anything else in the group's canon; driving, dissonant songs like the extraordinary 'Father Cannot Yell' and 'Outside My Door' even owe a rather surprising debt to psychedelia and garage rock. More indicative of things to come is the closer 'Yoo Doo Right,' a 20-minute…
Soon Over Babaluna
With Suzuki departed, vocal responsibilities were now split between Michael Karoli and Irmin Schmidt. Wisely, neither try to clone Mooney or Suzuki, instead aiming for their own low-key way around things. The guitarist half speaks/half whispers his lines on the opening groover, "Dizzy Dizzy," while on "Come Sta, La Luna" Schmidt uses a higher pitch that is mostly buried in the background. Holger Czukay sounds like he's throwing in some odd movie samples on that particular track, though perhaps i…