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on 23 July 2017
The trouble is, Can are one of the most called out bands ever. This is not surprising given their almost unique approach to composition and production. I think we have to remember that these amazing albums came out of the early 70s. Ever heard what else was coming out around this time and compare? So yeah I bought this on vinyl as a young teenager then and it blew me away (it was actually tago mago and soundtracks before that got me totally hooked), I've listened ever since and they always continue to reveal the effort and beauty that went into their recording. Whether better than Ege or Tago Mago is immaterial if you like this band you need them all + Soundtracks + Landed + Flow Motion. Yes there are duds on each - but as I read somwhere else 'Can on a bad day are still better than anyone else' - well they would say that wouldn't they.
Anyone.................who has influenced from PIL to Radiohead and all those you can read about elsewhere must be saying something worth finding out about. We are a much better world for them having gifted all of this to us.
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on 25 September 2014
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. The title song is an unbelievably weightless excercise in shimmering tropical psychedelia... never ever get tired of listening to it. Moonshake is so ahead of its time with its highly mechanised funk beat. Only a very few artists achieved this class of supremely elevated composition and performance. To anyone new to Can - get this one, you won't be disappointed.
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TOP 1000 REVIEWERVINE VOICEon 14 October 2005
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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on 28 June 2006
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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on 2 April 2014
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 Malcolm says on "Outside my door", "Jaki said that"?
For me, it stands alone from their other recordings as a magical moment - it's as representative of them as any of their other recordings, i.e. not at all. I feel very fortunate this group existed & this recording exists. A thing of beauty is a joy forever. Keats said that.
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on 29 March 2006
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.
From the gentle wash of waves that opens the album to the final bars of the epic 'Bel Air' this is a surprisingly sunny album, lacking the darker moments whipped up on the previous outings, weaving intricate patterns from relatively simple structures without ever feeling like it's being wilfully 'difficult' (in the way that say, Radiohead or Blur records do these days). It's just the sound of a band playing with ideas, trying to do something genuinely different and to push the envelope.
From the Curtis Mayfield-on-LSD percussion that propels 'Future Days' along at a gently rolling pace for the best part of ten minutes, to the restlessly inventive honking and squawking accompaniment on 'Moonshake' there are lots of things to enjoy.
The twenty minute 'Bel Air' which occupies the album's second half, is somehow reminiscent of Prog rock. The song itself probably lacks the grandiose ideas of ELP or Yes, but in its sheer vastness and its multi-part structure it has clear links to Prog. However, unlike much Prog there's no messing around with segues, if it fancies moving on to another section it might just stop dead and set off in another direction.
As well as this though, there is a relationship to funk. Two such conflicting styles are obviously unlikely bedfellows, but the way it seems to draw on both also appears to feed something back into them, enforcing a tighter sensibility on funk and a looser, more informal structure on progressive rock. This is neither as sloppily unfocused as, say, There's A Riot Goin' On, nor as overblown as Tales From Topographic Oceans. But the influence of this music can be heard in work by David Bowie (particularly around the time of Low and Heroes), King Crimson (although here the influence is surely two way) and even Joy Division.
This is remarkable music, especially considering that it is effectively, guitar, bass, drums and keyboards. The music is hard to define, but if you like any of the bands I've mentioned here, this is worth investing money in. It's a strange trip, but it's certainly one worth taking. Nothing else sounds quite like this.
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#1 HALL OF FAMEon 13 August 2005
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. The sound is much, much greater than the prior Spoon/Grey Area versions and more than justifies buying these records again. 'Future Days' is reissued SACD-style in a lovely case and with lovelier sleevenotes/pics alongside follow-up 'Soon Over Babaluma' and two later Can-albums with not so fantastic reputations, 'Unlimited Edition' & 'Landed.'
'Future Days' is notable as it was the final album from the Czukay-Karoli-Liebezeit-Schmidt-Suzuki line-up - the band operating at a peak after the wild-exploration of 'Tago Mago' and its funkier follow-up 'Ege Bamyasi.' This trilogy of Damo-era Can is one of those up there with other such great trilogies - Bowie's 'Station to Station', 'Low' & "Heroes"; Roxy Music's 'Roxy Music', 'For Your Pleasure' & 'Stranded'; The Cure's 'Seventeen Seconds', 'Faith' & 'Pornography'; Associates' 'The Affectionate Punch', 'Fourth Drawer Down' & 'Sulk' and Talking Heads' 'More Songs About Buildings and Food', 'Fear of Music' & 'Remain in Light.' It certainly influenced several of those titles - notably 'Fear of Music' and Bowie post-European canon towards his peak of 'Low' & "Heroes" (and the surrounding 'All Saints' and 'Lodger' releases - songs like 'Red Sails', 'The Secret Life of Arabia' and 'Art Decade' could be argued to come from- Bowie picked it as one of his all time favourite albums a few years ago). Several albums appear to be influenced by it to a degree - Cabaret Voltaire's 'Red Mecca' (electronic rhythms colliding with the ambient and potentially going anywhere), David Sylvian's more experimental work (some with Holger Czukay), Eno/Byrne's 'My Life in the Bush of Ghosts', Associates-tracks like 'Fearless (It Takes a Full Moon)', 'Kissed' & 'Logan Time', Simple Minds' 'Sister Feelings Call'/'Sons & Fascination'-set ('Careful in Career', 'In Trance as Mission'- though 'Theme for Great Cities' is more Faust) and the wilder-Eno/Talking Heads moments - 'Houses in Motion', 'The Overload', 'Drugs', & 'I Zimbra.'Talk Talk's Mark Hollis has also nodded to this era of Can and you can see the ambient-jazz motifs of 'Spirit of Eden' and 'Laughing Stock' in this album and its immediate predecessors. Added to that, a band named themselves after the track 'Moonshake' here!
Just four tracks, but four is enough- Damo Suzuki sounding like he's in another world, and spinning off into other galaxies over the seemingly infinite soundtracks of the band (who would continue this standard onto the non-Damo follow-up 'Soon Over Babaluma' - another key ambient album). The ethos of Can was to jam and edit back those tapes - creating wild head music - you won't be concerned about the number of tracks/album duration anyway: JUST HIT REPEAT...
The title track opens proceedings, a flux of drones predicting 'Kid A' and all that, before a rhythm comes in and some severely subtle bass from Czukay amid the sounds of water. The band sounds palatial and utterly at the height of their powers; 'Spray' follows next and is more of an ambient-jam with elements not far from Miles Davis circa-'Get Up With It' (the connection is Stockhausen). The tempo shifts to the perfect-funk-pop of 'Moonshake', which follows on from such greats as 'I'm So Green' and German-number One 'Spoon'. Finally, the album closes on the epic 'Bel Air' - just under twenty-minutes of ambient-voyage that makes you think of records like 'Closer' and 'Low' and 'Fear of Music' and 'Systems of Romance' and 'Real to Real Cacophony' and 'Secondhand Daylight' and 'Cobra Phases...' along the way...
'Future Days' is a great Can-album and a great reissue, sounding like summer-in-space - neon clusters, imploding star-systems and no hayfever. Anyone wondering where Bowie was coming from in his Berlin-years should be directed here, and to certain records by Cluster, Faust and Neu! of course. The music here is utterly timeless and wipes the floor with most; as much as I like the albums prior to this one, I think 'Future Days' is the one and would make my top ten list of greatest ever albums alongside 'Sulk', 'Rock Bottom', 'Tilt', 'Trout Mask Replica', 'Pacific Ocean Blue', 'Forever Changes', 'There's a Riot Goin' On', 'The Marble Index' and 'New Gold Dream' which make up my top ten for today! 'Future Days' even allows you to use that cliched-maxim: "SEMINAL, MAN!!!!!"
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on 8 January 2006
The timeless masterpiece from the German avant-rockers now sounds even better on this remastered issue. The sound is cleaner and fuller, which allows the wonderful dynamics of the music to be more readily appreciated. This album has never been out of my top 10; in fact, I would place it alongside Astral Weeks & Caravanserai in my top 3 greatest rock albums of all time. Can made another great album : Tago Mago, which is heavier, freakier and more experimental. They also made 3 other very good albums : Monster Movie, Ego Bamyasi & Soon Over Babaluma. This is the one for the desert island etc. and the place where all new listeners should start.
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on 29 June 2013
Wilkommen und listen to CAN. Fantastisch. An absolute classic alongside Ege Bamyasi and Tago Mago.This more ambient and chilled than the others. Grab yourself some Amon Duul and Neu! as well.........the Lost tapes box set i also recommend.
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on 27 April 2017
Ahhh...
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