Can's last album with singer Damo Suzuki marked an end to the band's golden era. A product of the times, Can's formula was to record long exploratory jams, then edit them down for the album.
Starting with ambient shimmering textures the track 'Future Days' settles into a Bossa-like groove. Towards the end the band gradually drops out, leaving a synth buzz-sawing across the stereo image, before returning to the groove to play out. Suzuki's lyrics are gentle and mixed low, but fit the music perfectly.
'Spray' is a rolling jazzy psychedelic 6/8 groove. It's fluid improv with an almost telepathic rapport between the players, and it sounds quite magical.
'Moonshake' is a minimalist trance-funk nugget, with an amazing sound effects solo for a middle eight! It's as close to a conventional song as Can get on Future days. It's also the only short track on the album.
Can's music evolves, like some weird shibboleth in the primordial soup, emerging well formed for a spell, before gradually changing into something strange again, and manages to be both intense, while retaining a light touch. 'Bel Air' captures this the most fully, sounding like it's gone adrift, and then returning to forms that compel yr interest
Although this is largely instrumental music, Can had a no-solos policy: everybody improvises, listens and responds, but there's no showboating. Even Suzuki's voice functions like an instrument. However, Jaki Leibezeit's drums are at the heart of the album, and his playing is phenomenal. The percussive overdubs add to the rhythmic textures that dominate Future Days
Brilliant on headphones, these sonic sculptures take you on a trip that you might not come down from. To hear the album restored to such a crystalline clarity is a real joy.