Can was the leading avant-garde rock group of the 70s. Can experimented with noise, synthesizers, non-traditional music, cut-and-paste techniques, and, most importantly, electronic music. "Future Days" is the fifth studio album by the German experimental rock band Can, released in 1973. The album features the title track "Future Days" as well as other songs such as "Bel Air" and "Spray". It is considered one of the band's most experimental and minimalistic albums and is known for its use of unconventional instruments, electronic sounds, and extended instrumental passages. The album received critical acclaim upon its release and is considered a classic of the krautrock genre. It has been cited as an influence by a number of bands and musicians in various genres.
Album Description:In the world of avant-garde rock music, few bands have achieved the level of innovation and experimentation as Can. Hailing from Germany, Can emerged in the 1970s as a pioneer of unconventional music, pushing the boundaries of traditional rock and embracing a wide array of eclectic influences. Known for their fearless exploration of noise, synthesizers, cut-and-paste techniques, and, most significantly, electronic music, Can left an indelible mark on the music scene. Among their notable works is the iconic "Future Days", a studio album released in 1973.
"Future Days" stands as a testament to Can's avant-garde approach and showcases their willingness to break away from musical conventions. The album, presented as a 12" vinyl LP, features a mesmerizing collection of tracks that solidify Can's reputation as masters of experimental rock. The band's lineup consisted of Holger Czukay on bass, Michael Karoli on guitar, Jaki Liebezeit on drums, Irmin Schmidt on keyboards, and Damo Suzuki on vocals, each contributing their unique style and talents to the overall sound.
The titular track, "Future Days", captivates listeners from the very beginning. It envelops the senses with its atmospheric and ethereal qualities, immersing the audience in a hypnotic journey. The song's extended instrumental passages, characterized by intricate rhythms and intricate layering of sound, create a sonic landscape that transports listeners to unexplored territories. "Future Days" serves as a testament to Can's ability to construct mesmerizing compositions that defy traditional song structures.
Another notable track on the album is "Spray". Here, Can takes experimentation to new heights, utilizing unconventional instruments and electronic sounds to construct a unique auditory experience. The band's ability to blend disparate elements seamlessly is showcased through intricate percussion work, interwoven guitar melodies, and enigmatic vocal contributions. "Spray" epitomizes Can's ability to create music that challenges listeners and expands their musical horizons.
"Moonshake" is yet another standout track, characterized by its infectious rhythm and pulsating energy. The song's driving bassline, intricate guitar work, and propulsive drumming combine to create a hypnotic groove that is both captivating and irresistible. It exemplifies Can's ability to infuse their music with infectious energy while maintaining an avant-garde edge.
Finally, "Bel Air" completes the album with its dream-like atmosphere and haunting melodies. Can's use of synthesizers and keyboards enhances the ethereal quality of the track, transporting listeners to a realm of otherworldly beauty. The interplay between the various instruments and Damo Suzuki's vocals showcases the band's ability to create a rich and evocative sonic tapestry.
Upon its release, "Future Days" received widespread critical acclaim and has since been hailed as a classic of the krautrock genre. The album's unique blend of experimentalism, minimalism, and electronic music set it apart from its contemporaries, solidifying Can's status as pioneers of avant-garde rock. The influence of "Future Days" can be felt in a wide range of genres, with numerous bands and musicians citing Can as a source of inspiration for their own groundbreaking work.
Music Genre:Psych, Acid, Krautrock, Indie, Chill-Out
|Collectors' Info: This Can record "Future Days" contains the 20 min masterpiece: "Bel Air"
Album Packaging / Information:Recorded At Inner Space Studio 1973
Written And Produced By CAN
Engineering And Editing By Holger Czukay
Record Label Information:Spoon Records 009
Media Format:12" Vinyl LP Record Pressed on High Quality 140 grams vinyl
Year & Country:1973 Made in Germany
Note: The photos on this page are taken from albums in my personal collection. Slight differences in color may exist due to the use of the camera's flash. Images can be zoomed in/out ( eg pinch with your fingers on a tablet or smartphone ).
"Future Days" Record Label Details: White Colour Label SPOON-Records Spoon 009, 66.22.236-01-1 ℗ 1973Sound Copyright
Holger Czukay was a German musician and co-founder of the experimental rock band Can. He was born in 1938 and passed away in 2017. He was a bassist, guitarist, and multi-instrumentalist, and was known for his use of tape loops and electronic techniques in his music. He was also a pioneer in the use of sampling in music.
Czukay was one of the main songwriters and producers in Can and played a crucial role in the band's development of the krautrock genre. He also released several solo albums, which often featured collaborations with other artists and showcased his unique experimental approach to music.
Czukay's work with Can and his solo albums have been cited as major influences by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative.
was a German musician, and guitarist for the experimental rock band Can. He was born in 1948 and passed away in 2001. He was a versatile musician and was known for his use of unconventional guitar techniques and electronic sounds in his music.
Karoli was a founding member of Can, and played a major role in the band's development of the krautrock genre. Along with Holger Czukay and Irmin Schmidt, he was one of the band's main songwriters, and his guitar playing was a key part of Can's sound. He also played violin, bass guitar and sang on some of the band's songs.
Karoli's work with Can has been cited as a major influence by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative. His guitar playing was kno
Jaki Liebezeit was a German drummer and percussionist, and the drummer for the experimental rock band Can. He was born in 1938 and passed away in 2017. He was known for his precise, minimalistic drumming style and his use of electronic drums.
Liebezeit was a founding member of Can and played a major role in the band's development of the krautrock genre. He was known for his unique drumming style, which often involved using a minimalistic approach to create a hypnotic, repetitive rhythm. His style was heavily influenced by African and Middle Eastern rhythms and he was considered one of the most innovative drummers of his time.
Liebezeit's work with Can has been cited as a major influence by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative. He was known for his precise, minimalistic drumming style and his use of electronic drums. His drumming technique and style was considered as one of the most original in rock history.
Irmin Schmidt a German musician and composer, keyboardist and founding member of the experimental rock band Can. He was born in 1937. He is also known for his work as a solo artist and composer for film and theater.
Schmidt was one of the main songwriters and producers in Can, and his keyboard playing was a key part of the band's sound. He was also known for his use of electronic sounds and unconventional techniques in his music. He was heavily influenced by avant-garde, classical, and world music. He formed Can with Holger Czukay and Michael Karoli in 1968, and the band went on to become one of the leading bands in the genre of krautrock.
After the band's dissolved, Schmidt has released several solo albums, collaborated with various artists and composed music for films and theater. He has also been involved in various other musical projects. His work with Can and his solo albums have been cited as major influences by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative.
Damo Suzuki a Japanese musician, the vocalist for the experimental rock band Can during their most productive period in the 1970s. Suzuki joined the band in 1970, after the departure of the band's original vocalist Malcolm Mooney. He sang on several of the band's most well-known albums, including "Tago Mago," "Ege Bamyasi," and "Future Days".
Suzuki's style of singing was characterized by his use of free-form, improvisational vocals, often in a falsetto register, and was considered as one of the most original and avant-garde in rock music. His live performances with Can were known for their intensity and unpredictability, and he was a major contributor to the band's development of the krautrock genre.
After leaving Can in 1973, Suzuki went on to perform with various other bands and musicians, and he continues to perform and record to this day. His work with Can has been cited as a major influence by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative. He is also known for his unique approach to live performances, often singing without a microphone and using the audience's space to create a unique atmosphere.