German experimental rock band formed in Cologne circa 1968, initially as Inner Space and becoming 'The Can' when fronted by black American singer Malcolm Mooney. Can are well-known as one of the key pioneers of Krautrock, particularly during the era when fronted by Japanese singer Kenji 'Damo' Suzuki who 'turned their sound towards a crazy mixture of improvisation, noise, mantra and funk rhythms'. Zip Code Dma Mapping. They were constantly at the forefront of the scene during their 10+ year history, composed music for a number of esteemed feature films, and their pop satire single 'I Want More' became an international hit.
Can, the German experimental band that started in the late '60's and still garner a small but enthusiastic audience thanks to reissues and continued press coverage, stretched the limits of music and sound as far as it could go. Florence And The Machine Ceremonials Zip. Some may say it broke the limits, but that's a matter of taste and adventure. 'Tago Mago' is the.Missing.
The first Can member to go solo was Holger Czukay, and after Can split keyboard player Irmin Schmidt established a successful solo career. Other Can members also went solo and/or participated in other projects. In 1986 Can reformed to make a new album. In March 2003 Can received the German music industry's Echo award for lifetime achievement.
But it was there that I met the groups that I publish here on the blog today. Can - Monster Movie 1969 (Germany. Can - Tago Mago 1971 (Germany. Jan 14, 2011 - As many who read this blog know, I am a big fan of that controversially named alt-rock genre “Krautrock,” the catch-all term that covers the bands that. E Jugend who– surprise– actually hail from Germany, close the album by stripping away the psychedelia of Tago Mago's “Oh Yeah” and reduce it to its.
It is one of popular culture's maxims that innovation and pioneering work is often copied ad nauseaum afterwards by a horde of imitators. Cccam C Line Manager. However, very rarely someone or something creates a work or body of art that is so unique that it can't be followed. There are very few of these artists in music, and all are worth investigating. To appreciate Can fully requires an understanding to a certain extent of their background.
The 'fatherless generation' of the sixties sought to reclaim a culture for Germany, one that whilst influenced no doubt by the emergence of AngloAmerican poprock, would be devoid of the past. The influence of electronic godfather Stockhausen, is like Kraftwerk, apparent here, as both keyboardist Irmin Schmidt and bassist Holger Czukay had studied at length under him. With the addition of the incredibly metronomic Jaki Leibezeit and experimental guitarist Michael Karoli, their first efforts were influenced enormously by the Velvet Underground.
Again, parallels with Kraftwerk abound here, although it could be argued that Can had experienced their 'golden age' of 1970 - 1975 by the time the former came to the fore. Both bands created their own workspace, in Can's example, Innerspace, an old castle near Cologne. With no record company interference or fees to consider, Can, under the guidance of both noted engineer Conny Plank and Czukay himself, recorded miles upon miles of studio recording, often jamming for up to 24 hours at a time. The freeform attitude, amplified by the fact that all were exemplary musicians, gave Can a flexibility that virtually no band could match.
From 'Tago Mago' to 'Soon over Babaluma' Can recorded 4 milestone LPs that have lost none of their impact over time. It could be argued that by this period Can were no longer a 'rock' band, having more in common musically with funk and freeform avant-garde styles. By the mid-seventies, with Holger more interested in post-production, the momentum of the band waned and they ground to a halt in 1979, only to reappear, reformed in 1989 for one LP.