Can

"1971's Tago Mago saw Can stretching out into the beyond, and it was their first full-length studio record to feature Suzuki. Originally released as a double-LP, Tago Mago confirmed what "Yoo Doo Right" had only suggested: Can knew trance-rock as if they'd invented it. However, unlike it did on Monster Movie, the band didn't necessarily lull you into hypnosis via bass and beats. "Aumgn" and "Peking O" are the most experimental tracks in the Can catalog, sharing more in common with the irreverent electronic music of Stockhausen or Pierre Henry than most anything related to rock-- Ummagumma was a possible exception. Their often-bizarre arrays of sound effects and reverb-drenched, murky guitar sprawl have driven more than one listener to put down the pipe. Of course, when the epic "Halleluwah" starts with Liebezeit's industrial strength funk pattern before winding through dark, echo-chamber ambience and minimalist drone (while never letting you forget those drums), the detours seem a lot less harrowing. The shorter songs, like the gray, faintly ominous "Paperhouse" or the flawless funk and dark impressionism on "Mushroom", are merely smaller pieces of the band's most exotic pie."