Out of Print. Direct to disc. Creation Date Release Date. Availability Preorder. Format Vinyl. Genre : Pop Rock. Label : Mute. Size : 12". Format : 33RPM ,. Preorder A Preorder is an item that has not yet been released. Typically the label will set a projected release date that is subject to change. The title track eases us into the sonic wash, while "Spray" is built around Suzuki 's eerie vocals, which weave in and out of the shimmering instrumental tracks.
A similar reduction, though not as drastic, occurs in the role of Jaki; he's still the foundation of the sound, yes, but he never really stands out as the dominant feature like he often tended to in the past. That's not necessarily a terrible thing, though; "Pinch" was pretty close to a nine- minute Damo-Jaki duet, and I wasn't the biggest fan of that one, after all. This reduction in Jaki's and Damo's roles doesn't really lead to a corresponding increase in the importance of any of the other band members individually, though maybe Schmidt could be said to be boosted, though his presence is as much in atmosphere as in anything else.
Heck, if you're looking for analogies, this could almost be considered the Murmur of the Krautrock world yes, I know that Murmur came out a decade later , in that everybody is turned down in the mix enough for everybody to contribute to an ensemble sound that's that much stronger than the sum of its parts. This is hands down the prettiest album Can would ever make, and a wonderful tribute to the great power that can be achieved from well-placed restraint and subtlety.
I'll try regardless, though. The opening title track begins with all sorts of lovely and occasionally somewhat disturbing ambient noises, and then the drums rise up quietly and slowly, with a sort of "brushing" sound laid on top of them, and then the rest of the band slowly kicks in and Damo sings a playful melody repeatedly after coming out of having his vocals completely encoded. There are some guitar and synth passages that sound like everything from later King Crimson to Radiohead, there are some passages where Damo sings loudly through some device that makes him sound uncannily like Mark E.
Smith of The Fall would often sound later, and it just stays in an ultra-hypnotic groove that never lets up in all of its nine-and-a-half minutes. The actual song part, fortunately, is nearly as good as the part leading up to it, if only because it provides a nice contrast to the relative "fury" of the first passage without entirely letting go of the tension of it. Karoli is the quiet star of this passage, but Damo gives a nice soft texture to it as well.
After the brief diversion of "Moonshake," we hit the main attraction, the twenty minute almost on the dot suite, "Bel Air. Suzuki puts on one of his best ever performances in terms of beauty, taking on quite a few vocal melodies, and the band complements him well, I guess it's the other way around, whatever with quite a few different grooves throughout. There are several stunning moments of beauty, many coming from assorted quiet Karoli lines, many from the sounds Schmidt puts out, and many just from the way it all comes together.
One thing the piece doesn't have is any clear structure, but that works to its benefit in this case; it's set up in such a way that ever thinking "shouldn't this be ending at some point? Sheesh, I like this album. Were it not for the fact that this is probably best listened to as background music some of the best background music ever written , I might give it an even higher grade.
Only on the title cut do we get the sense of the group's ability to compose while still improvising. This is hypnotic in a good way, with its chanted vocals developing a surprisingly strong melody under the circumstances, without the slightest concession to the establishment.
The rest of the album has a few good moments sprinkled about but not enough to warrant the status this work enjoys. I haven't heard any other early Can but I wouldn't say this one is essential, even if it does contain one excellent piece. However, if my description intrigues, then by all means dive into Can's days long past. Up until Babaluma and before they signed to Virgin, Can recorded all their music on 2- track.
Most recordings in the early s were done on track. The songs Elvis recorded in the s for example were recorded on 2-track. The band would record hours of jamming and improvisations and Czukay would edit the living hell out of them into minute songs. Usually he would overlap different recordings on top of each other to create a sound much fuller than you would expect from 2-track recordings.
The band would then attempt to recreate those songs in concert. What you have here is some of the finest examples of Czukay's magic at work. The title track is very minimalistic and very low key. A strange way to start one of their albums.
In many ways this is a mellower album than what they had done previously. This jazzy and spacey track is almost instrumental with Damo coming in at the end. It's more melodic and atmospheric than almost anything else the band did.
There is a part around where the music seems to have faded out and then comes slowly back. This part is much more dramatic on the original CD version and vinyl I'm assuming. The remastered version has this part a bit louder and it loses the effect. Overall this music is not easy to describe. Jazzy drumming mixed with simple basslines; busy but not really rocking guitars mixed with repetitive keyboard parts.
Some strange effects coming mainly from the keyboards. A good place to start with these guys but the first song might throw you off. This album sees Irmin Schmidt coming to the forefront of the sound as every song save for one seems to be based around and features his keyboard padding. I'll admit that I'm glad there's more keyboards since past albums always struggled to bring Schmidt into the sound.
Now, Schmidt is very present in the sound as is Jaki Liebezeit as usual. Unfortunately, the other three members are barely noticeable. The three gargantuan tracks title, ''Spray'', ''Bel Air'' are loaded with keyboard pads and drum patterns and little of anything else unless your ears are amazing. Bedtime would be more appropriate to listen to these tracks than in the future because generally nothing happens throughout most of the album.
The exception is the poppy ''Moonshake'', a light, almost tropical song that actually puts Damo and Karoli centre stage. All in a three minute track that sounds like a single. Instead, I find the album to be one of the most lulling experiences I've had with music. That makes this a very important album. Not only is this album important, but it is incredibly good. There is no kraut-pointlessness on this album, and is definitely not as rough around the edges as Can's earlier releases. The sound on this album reminds me of a German take on the sound that Herbie Hancock used during the Mwandishi period, and it works very well.
Damo Suzuki's wonderful and quiet vocals are fantastic here, sounding much more like another instrument in the mix. Some of this music can really make you move your body, and "Moonshake" would be absolutely for a pool-side party. There are still plenty of psychedelic elements present in the music, but it all fits together much more nicely than any other example that I can think of.
Definitely a masterpiece in the krautrock genre, but I feel that I could honestly call this a fantastic jazz-rock album as well. The two follow up albums, however, don't reach this level by a long shot.
After 'Tago Mago', Can released yet another landmark album, 'Ege Bamyasi', a more toned down, but still freaky LP that kept the fans still very happy. Nevertheless, because of it's bravery, it still remains as an important Krautrock album and one of the highlights of Can's glorious artistic career.
The production is very toned down, lowering the volume of all the instruments, especially the vocals, which seem always lost and drowned by the music. Of course, the lower tone is not accidental, it's just another form of experimentation Can decided to use, instead of the stunningly bizarre sounds used in 'Tago Mago'.
We still have though a lot of typical Can elements, particularly the always very creative and versatile rhythm section, at times dominant in the music, at times rigid, at times loose, at time driving, at times laid back. It is though a much more melodic album, thanks to the straight-forward guitars and soft vocals. In other moments, it feels that the band is improvising instrumentally, especially thanks to the touch of organs, which give to the music almost a Jam Band feel.
But the forty minutes can be quite puzzling, starting from the first nine minutes, the title track, a great start for this album. It's a bit of a builder, where the punch is a soft, yet psychedelic influenced melody with Damo Suzuki's almost whispering vocals in the background.
But surrounding that are tons of buried details, as if you were listening to the track in another room, with your ear attached to the wall. Same thing goes for the more lively 'Spray', a long instrumental that is a little less repetitive and hypnotic and much more progressive in nature. After the small little track 'Moonshake', that is however the loudest and liveliest this album gets, comes the grandiose, near to twenty minute epic 'Bel Air', a sort of mixture between Krautrock and Progressive, being at times repetitive, however having a structure very similar to the one of a suite, with a few melody changes and some free experimentation in between.
This album isn't one that exactly clicks at first listen, because it surprises and, in a way, disappoints a listener who perhaps was fond of the previous work of the band, like I was. First of all, you have got to see music in coexistence with the times surrounding it. Can were at a very special place musically back in - Damo had proven to be an unforeseen vocal attribute to the band, and the way these guys rolled with each other was just a thing of beauty.
An astonishing example of how you could twist sound out of it's proportion and make it into something funky, unhinged and psychedelic. Recorded during the scorching heat of down-town Cologne in , the sweat does actually drip from the walls during these recordings.
The band is so into each other going by almost telepathic powers, that you get the feel of steam filled rooms with semi naked men roaming around frantically, and it shows. Irmin Schmidt tends to be forgotten sometimes, but the way he conjures up sound and sparkling sodapop electronics on this outing is just mind-bendingly brilliant.
It's like an organic pulse soaking everything around it in magic honey. Most wonderful thing about it though is it's willingness to cooperate with the ambient shamanistic and rather lethargic calypso funk of Jaki Liebezeit, who in return is remarkably loud in the mix. That is the thing about Can you have to remember: They were all about the sound and groove. In a live setting, Karoli's guitars would suddenly roar right through in the jam, whilst Czukay's bass similarly climbed to unknown sound levels, leaving Jaki's drums in the back.
On here they are right up front, and it clearly demonstrates to me how much they appreciated what they indeed brought into the band.
On some levels, Future Days is actually all about the feel the drumming gives off. The surrounding instruments circle around the beat like big surfing kites, and those great overdubbings he additionally does with the bongo drums is just some of the most frail beautiful and truly melodic drumming I have ever heard in my life. Then you have the spirit of the 60s oozing through underneath it all as well. That was always what guitarist Michael Karoli injected into the sound.
His jamming laid back suave and gentle persona counters the somewhat staccato stuttering and hypnotic force of the rhythm section, and does so with a natural docile touch. He's like an eternal trip to the beach, if you will. People who have heard his Canaxis album probably know what I'm on about, as this release displays some of the most adventurous soundscapes you'll ever come across.
Together with Karoli he is like a fish in the sea. They know each other so well, and everything is right in the pocket. What this effectively does, is to grant the guys the power to break free at any given moment and still be right in the groove! And that is essentially what this album is all about: The Groove!!
Don't come looking for melodies and highly sung choruses here matey! This is about the summer- glistened sunlit bubbling groove of the mighty Can. Everything is an instrument in it's own right, even mimicking others at times whilst keeping the flooding beats. I know I don't normally write about albums with over ratings, but then again there are albums I am always on about in the forums, and this is one of those, so instead of perpetuating the inevitable, I thought it best to share with you, one of my alltime great musical loves.
This album also gets it's fair share of flack, and music will always be like that, but to me personally, I find Future Days timelessly beautiful. If you just forget about what Damo really is singing and let your mind transform him into an instrument, he becomes like this human tribal reed with strange wind-like characteristics to him.
Take it out at 5 in the morning, when the sun is getting outta bed and ready for some red and orange. This album has a thousand other colours to it, than originally shown on the blue front cover, and bringing Future Days with you into mother nature takes you to a whole other listening experience - proving to you just how organic and in tune these guys were. It is like stepping into a cooling breeze - like jumping in the tub after a week in the desert. And when you think you got it pecked - you know what to expect next - you get Spray.
This is an experiment, that not unlike Il Balletto di Bronzo's Ys is very reluctant to give off any sort of red thread or open melody. Two very different sounds, but still that wandering around in the surprisingly funky and tight musical space, still manages to convey the image of some remote cave explorers going around secret mountain alleys with flash lights looking for a way in the dark.
The journey truly is the ride. It's not the kind of song you put on to start a party, but if you want to send a few of your best friends home like angels, you'll put it on at the end. It sounds like the music of the spheres to me. Can had approached this territory before with 's Future Days.
After the band's modest success with the "Spoon" in buoyed by its use as the theme to a popular German gangster show , they were able to afford a short summer holiday.
When they came back to record, it was a collective idyllic, sunshiny aura that most informed their efforts.
The title track, fading in on the back of seaside ambience and distant accordion, was Can's smoothest production yet, sounding either like they'd successfully amputated the pulse and precision of Ege Bamyasi , added a lush veneer and forged a new kind of pop music, or somehow invented the greatest tropicalia known to man. Likewise, the epic "Bel Air" featured Can at their most impressionistic, if not always focused. Czukay once described his band as an "electric symphony group", and the heavily edited and structured "Bel Air" betrays a dedication to long-form statements and an almost painterly sense of blended colors and landscapes.
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