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Future Days (Remastered Sacd/CD Hybrid) [Original recording remastered, SACD]

Can Audio CD
4.2 out of 5 stars  See all reviews (11 customer reviews)
Price: £26.99
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Image of album by Can

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Biography

Can was an experimental rock band formed in Cologne, West Germany in 1968. Later labeled as one of the first "krautrock" groups, they transcended mainstream influences and incorporated strong minimalist and world music elements into their often psychedelic music.

Can constructed their music largely through collective spontaneous composition –– which the band ... Read more in Amazon's Can Store

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for 82 albums, 5 photos, discussions, and more.

Frequently Bought Together

Future Days (Remastered Sacd/CD Hybrid) + Ege Bamyasi + Tago Mago
Price For All Three: £48.64

These items are dispatched from and sold by different sellers.

Buy the selected items together
  • Ege Bamyasi £12.88
  • Tago Mago £8.77

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Product details

  • Audio CD (1 Aug 2005)
  • Please Note: Requires SACD-compatible hardware
  • Number of Discs: 1
  • Format: Original recording remastered, SACD
  • Label: Spoon
  • ASIN: B0009RJP3C
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Bestsellers Rank: 77,008 in Music (See Top 100 in Music)

1. Future Days
2. Spray
3. Moonshake
4. Bel Air

Product Description

Amazon.co.uk

The second wave of Can reissues, freshly remastered by bassist/studio wizard Holger Czukay, keyboardist Irmin Schmidt, and engineer Jono Podmore repeats the trick pulled on the first batch, stripping away background hiss and muddiness and leaving these epochal recordings sounding impossibly fresh.

The pick is undeniably Future Days, considered by many to be the group’s finest hour: the last album to feature deranged Japanese vocalist Damo Suzuki, it sees the band working as one, crafting long vistas of blissful ambient sound powered by Jaki Liebzeit’s steady, machine-like drumming. 1974’s Soon Over Babaluma is an underrated Can moment, however: guitarist Michael Karoli switches to violin on "Dizzy Dizzy", even adding a hushed, mantric vocal, while the eleven-minute "Chain Reaction" offers the first taste of Can’s disco-influenced future.

Something of a mixed bag, Unlimited Edition is most interesting as an example of Can’s musical breadth: a compilation spanning five years, it features everything from the cranked Velvets garage of "Mother Upduff" – featuring original vocalist Malcolm Mooney - to "Cutaway", seventeen minutes of dizzying tape-splice experiments. Finally, 1975’s Landed: it’s far from a highlight of Can’s back catalogue, but "Hunters And Collectors" and the raging "Vernal Equinox", featuring some furious Karoli soloing, are not without their charms. --Louis Pattison


Customer Reviews

Most Helpful Customer Reviews
29 of 29 people found the following review helpful
5.0 out of 5 stars One of CAN's three masterpieces 28 Jun 2006
Format:Audio CD
Beginning in the late Sixties and reaching in its peak during the first half of the following decade, Germany produced some of the most daring and singular music Rock and Electronica saw in those days.

Groups like Tangerine Dream, Kraftwerk and Amon Duul, each in its own distinct manner did much more than imitating the great bands in the UK and the United States. Speaking of originality and adventurousness, CAN was even more important than the groups already mentioned, and possibly the best German band of all times.

Now, to choose a single album by CAN is literally impossible, yet "Future Days" should make anyone's short list. Along with its two predecessors, "Ege Bamyasi" and "Tago Mago," this album presents a band at the top of its ever-changing form.

By then, 1973, CAN had been together long enough to have an almost psychic musical connection with each other, and the continuous evolution of their sound reached its peak in Future Days.

Whether it is the sinuous bass lines Holger Czukay offers or the incomparable groove of drummer Jaki Leibezeit in the opener "Future Days" or Michael Karoli's guitar in "Spray" or the funky "Moonshake," this album is an amazing show of minimalism, the adventurous stripped to its essence, yet full of nuances and moods, further enhanced by Damo Suzuki's shamanic singing and keyboardist Irmin Schmidt's proto-Ambient cadences.

This is even more poignant in the final and longest song "Bel Air" which sums up everything that CAN gained its reputation on, and more than enough reason to deserve a more prominent place among the bands--anywhere!--that shaped contemporary Rock and Electronica.
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20 of 21 people found the following review helpful
5.0 out of 5 stars cosmic slabs of sonic sculpture 14 Oct 2005
By Sebastian Palmer TOP 1000 REVIEWER VINE VOICE
Format:Audio CD
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.
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25 of 27 people found the following review helpful
5.0 out of 5 stars Unique 29 Mar 2006
By M. Knox
Format:Audio CD
Krautrock is a hard genre to define. The (rather un-PC) term was coined to describe a range of adventurous, avant garde music that started to come out of Germany in the late '60s and early '70s. However, that generalisation utterly fails to do it any kind of justice and completely ignores the broad spectrum of musical styles that Krautrock bands encompass. From the icy synthesiser epics of Tangerine Dream through Kraftwerk's groundbreaking electronic experimentalism to Faust's schizophrenic (and often totally bonkers) rock, it's really a category for the uncategorisable; the only common ground being their country of origin.
Can were another of the bands in the vanguard of this movement, and they've been plying their uniquely skewed musical vision for more than 30 years now. This album, from 1973, their third and last with Japanese vocalist Damo Suzuki (whose vocalising is every bit as idiosyncratic as the music of his bandmates), finds them at the peak of their powers.
The music on the preceding two albums with Suzuki was a bewildering array of stripped back grooves, experimental noise and abstract noodlings (frequently all at the same time) and this album is little different, except that this time the esoteric blend is moulded into something more focused and accessible. The Can hallmarks of cyclical rhythms and clipped, minor key guitar phrasings are here in abundance, but used in a more consistently coherent way than they sometimes were on Tago Mago or Ege Bamyasi.
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Most Recent Customer Reviews
5.0 out of 5 stars afro fusion nirvana
Even though Bel Air is a bit of a dog's dinner I still give this album five stars as it contains some of Can's most transcendent tracks. Read more
Published 6 days ago by Bradx
5.0 out of 5 stars Unique
I see this recording has polarised opinion. I wonder how many Can fans who say it's not as good as "Tago Mago" or other previous Can recordings said that because, as... Read more
Published 6 months ago by Richard
5.0 out of 5 stars Cantastic
Wilkommen und listen to CAN. Fantastisch. An absolute classic alongside Ege Bamyasi and Tago Mago.This more ambient and chilled than the others. Read more
Published 15 months ago by C. Whitworth
1.0 out of 5 stars Great album, dodgy mp3
This download didn't work for me, skips about like a scratched CD would. Little tics and jumps. Superb album though, but buyer beware...
Published 18 months ago by CRAIG SCOTT
2.0 out of 5 stars oh dear
here we go again - old hippies rejoice - CAN are back !!
I've argued elsewhere that this band needs more serious editing
than virtually any other band in Rock History . Read more
Published on 2 Dec 2011 by Mark Miwordz
3.0 out of 5 stars Pick up Tago and Ege before this one
Borrowing from the title of the Can remix album it seems "sacrilege" to criticise this album. I am a huge Can fan and have heard most of their output and although this album is... Read more
Published on 30 Oct 2007 by jol legend
5.0 out of 5 stars Rock Meisterwerk
The timeless masterpiece from the German avant-rockers now sounds even better on this remastered issue. Read more
Published on 8 Jan 2006
5.0 out of 5 stars Lovely reissue of 1973's classic...
It's clear from the prior SACD-remastered versions of such Can-albums as 'Ege Bamyasi', 'Soundtracks', & 'Tago Mago' that releasing them in such a manner is more than justified. Read more
Published on 13 Aug 2005 by Jason Parkes
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