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Future Days [VINYL]

11 customer reviews

Price: £20.02 & FREE Delivery in the UK. Details
Includes FREE MP3 version of this album.
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Amazon's Can Store

Music

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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Frequently Bought Together

Future Days [VINYL] + Ege Bamyasi + Tago Mago
Price For All Three: £41.46

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Product details

  • Vinyl (21 July 2014)
  • Number of Discs: 1
  • Label: Mute
  • ASIN: B00HVP9ZAS
  • 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: 119,206 in Music (See Top 100 in Music)

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

Customer Reviews

4.2 out of 5 stars
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Most Helpful Customer Reviews

34 of 34 people found the following review helpful By Juan Mobili on 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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22 of 23 people found the following review helpful By Sebastian Palmer TOP 500 REVIEWERVINE VOICE on 14 Oct. 2005
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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29 of 31 people found the following review helpful By M. Knox on 29 Mar. 2006
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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