- SPOON Records
TAGO MAGO was CAN's official second album and was an attempt in achieving a mystery musical world from light to darkness and return. The album consisted not only out of regularly recorded music, but for the first time CAN combined 'in-between-recordings', that means the musicians were secretly recorded in the pauses when a new microphone and recording set up was being established. In that time the rest of the group just played in order to make the time pass by instead of waiting till the technical problems were solved. And there was always one microphone and one recorder on standby position for such cases. Altogether certainly a psychedelic experience, and the studio itself even turned into something new e.g. by changing dramatically the whole illumination.
The 1971 release of Can's "Tago Mago" on a 12" vinyl LP via Spoon Records is considered a touchstone of musical experimentation. A double album filled with sprawling instrumentals, improvised rhythms, and hypnotizing vocals, it transcends traditional genre boundaries, cementing its place as a pivotal Krautrock masterpiece.
"Tago Mago" encapsulates Can's relentless spirit of exploration. Tracks like the chaotic opener "Paperhouse", the hypnotic "Halleluwah", and the rhythmic intensity of "Aumgn" defy categorization. Damo Suzuki's enigmatic vocals weave through the sonic tapestry, adding a surreal and otherworldly dimension.
The production techniques on "Tago Mago" are a feat in themselves. Bassist Holger Czukay's radical editing and splicing techniques push the sonic envelope even further, creating unpredictable soundscapes that reward repeated listens.
As a testament to its influence, "Tago Mago" resonates across musical generations, inspiring countless artists from indie rock to electronic music. Experiencing this album in its full vinyl glory is an immersive and transformative journey. It serves as a crucial reminder of Can's unwavering commitment to breaking down musical boundaries and redefining the language of rock 'n' roll.
Can's "Halleluhwah" is a quintessential example of Krautrock's hypnotic power and experimental spirit. Clocking in at 18 minutes, the song begins with a relentless, driving drumbeat that serves as its backbone. Over this pulsating foundation, swirling guitars, ethereal keyboards, and textured sonic explorations intertwine, creating a dense and captivating soundscape. Damo Suzuki's improvised vocals, often bordering on ecstatic yelps and unintelligible murmurs, add a primal energy to the mix. The song maintains a consistent groove throughout, but it's the extended improvisations and gradual build in intensity that transform "Halleluhwah" into a mesmerizing, trance-inducing journey.
Music Genre: Psych, Acid, Krautrock, Indie, Chill-Out |
Producers: Recorded At Inner Space Studio 1971 Written And Produced By C A N Engineering And Editing By Holger Czukay |
Album Packaging / Information: Gatefold/FOC (Fold Open Cover) Album Cover Design, |
Record Label Information: Spoon Records 006/7 |
Media Format: 12" Double LP |
Year & Country: 1971 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 ).
"Tago Mago" Record Label Details: SPOON-Records Spoon 006/7, 66.28.200-01-1, LC 7395
CAN's "Future Days" marks a turning point. Damo Suzuki's last album with the band, it explores ambient soundscapes. Tracks like the title piece and "Bel Air" create a mesmerizing, atmospheric journey that defines Krautrock innovation.
- Future Days (1973, Germany) - Future Days (1973, Germany, Re-Issue) CAN - Future Days ( 1973 , England )"Limited Edition"was recorded at Inner Space Studios, a fitting name for a place that became the laboratory for sonic experimentation. Inner Space Studios provided CAN with the freedom to push boundaries and redefine the possibilities
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Learn more"Tago Mago" encapsulates Can's relentless spirit of exploration. Tracks like the chaotic opener "Paperhouse", the hypnotic "Halleluwah", and the rhythmic intensity of "Aumgn" defy categorization. Damo Suzuki's enigmatic vocals
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