|
Can (band)
Can (stylised as CAN) was a German experimental rock band formed in Cologne in 1968 by Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group used several vocalists, most prominently the American Malcolm Mooney (1968–70) and the Japanese Damo Suzuki (1970–73). They have been widely hailed as pioneers of the German krautrock scene. Coming from backgrounds in the avant-garde and jazz, Can blended elements of psychedelic rock, funk, and musique concrète on influential albums such as ''Tago Mago'' (1971), ''Ege Bamyasi'' (1972) and ''Future Days'' (1973). Can also had commercial success with singles such as "Spoon" (1971) and " I Want More" (1976) reaching national singles charts. Their work has influenced rock, post-punk, ambient, and electronic acts. History Origins: 1966–1968 The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1966. While Schmidt initial ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Karoli
Michael Karoli (29 April 1948 – 17 November 2001) was a German guitarist, violinist and composer. He was a founding member of the influential krautrock band Can. Career Karoli was born and grew up in Straubing, Bavaria, moving to St. Gallen, Switzerland by the time he finished school. He learned to play the guitar, violin and cello as a child, and played in numerous jazz and dance bands. In 1966, he met and befriended Holger Czukay, who was his guitar teacher for a while. After he graduated he began studies of the law until leaving in 1968 to form Can with Czukay, Irmin Schmidt, Jaki Liebezeit, and David Johnson. In Can, he mostly played guitar, occasionally also playing violin; after Damo Suzuki left in late 1973 he was also their main vocalist. He was a constant member of the band, playing with it between 1968 and its break-up in 1979. He also joined the band for its three reunions, in 1986, 1991, and 1999. Karoli died from an undisclosed form of cancer in 2001 in Esse ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phew (singer)
Phew is a Japanese singer and analogue electronics improviser working in the areas of experimental and avant-garde music. Music career Her career began as a member of post-punk group Aunt Sally, who released a self-titled album on Osaka’s Vanity Records in 1979. After the break-up of Aunt Sally, she released the "Finale"/"Urahara" single produced by composer Ryuichi Sakamoto, followed by the ''Phew'' album recorded at Conny Plank's studio in Cologne, with Holger Czukay and Jaki Liebezeit. This was followed by a series of albums that included ''Our Likeness'', recorded with Plank and Liebezeit, featuring Einstürzende Neubauten's Alexander Hacke and D.A.F/ Liaisons Dangereuses's Chrislo Haas. After 1995's ''Himitsu No Knife'', she remained active in various groups, including the jam rock ensemble Novo Tono featuring Otomo Yoshihide, a collaboration with electronic musician Hiroyuki Nagashima called ''Big Picture'', and the punk group ''Most'' with Boredoms guitarist Se ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Future Days
''Future Days'' is the fourth studio album by the German experimental rock group Can, released in 1973. It was the last Can album to feature Japanese vocalist Damo Suzuki, and sees the band exploring a more atmospheric sound than their previous releases. Content Music On ''Future Days'', Can foregrounds the ambient elements they had explored on previous albums, dispensing largely with traditional rock song structures and instead "creating hazy, expansive soundscapes dominated by percolating rhythms and evocative layers of keys". ''PopMatters'' wrote that "It feels as if ''Future Days'' is driven by a coastal breeze, exuding a more pleasant, relaxed mood than anything the band had previously recorded." Artwork The album cover shows a Psi sign in the middle (drawn in the same style as the font used for the cover) and the I Ching symbol ding/the cauldron below the title. The surrounding graphics are based on the Jugendstil artstyle. Some versions of the vinyl album have a slight ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ege Bamyasi
Ege or EGE may refer to: People * Ege (given name), list of people with the given name * Ege (surname), list of people with the surname Places * Ege, Indiana, an unincorporated community * Mount Ege, in Antarctica Other uses * Eagle County Regional Airport, in Colorado * EGE (Unified State Exam) of Russia * École de guerre économique, French academic institution * Ege University Ege University or Aegean University ( tr, Ege Üniversitesi) is a public research university in Bornova, İzmir. It was founded in 1955 with the faculties of Medicine and Agriculture. It is the first university to start courses in İzmir and the ..., in İzmir, Turkey * TCG ''Ege'' (F-256), a Turkish frigate {{disambiguation, geo, given name, surname Turkish masculine given names Turkish-language surnames ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tago Mago
''Tago Mago'' is the second studio album by the German krautrock band Can, originally released as a double LP in August 1971 on the United Artists label. It was the band's first album to feature Damo Suzuki after the 1970 departure of previous vocalist Malcolm Mooney. Recorded in a rented castle near Cologne, the album features long-form experimental tracks blending rock improvisation, funk rhythms and musique concrète techniques. ''Tago Mago'' has been described as Can's best and most extreme record in sound and structure. The album has received widespread critical acclaim and is cited as an influence by various artists. '' Drowned in Sound'' called it "arguably the most influential rock album ever recorded." Recording and production After Malcolm Mooney left Can in 1970, the band was left without a vocalist. Bassist Holger Czukay met Kenji "Damo" Suzuki, who was busking outside a cafe in Munich, and invited him to join the band. That evening, Suzuki performed with the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musique Concrète
Musique concrète (; ): "[A] problem for any translator of an academic work in French is that the language is relatively abstract and theoretical compared to English; one might even say that the mode of thinking itself tends to be more schematic, with a readiness to see material for study in terms of highly abstract dualisms and correlations, which on occasion does not sit easily with the perhaps more pragmatic English language. This creates several problems of translation affecting key terms. Perhaps the most obvious of these is the word ''concret''/''concrète'' itself. The word in French, which has nothing of the familiar meaning of "concrete" in English, is used throughout [''In Search of a Concrete Music''] with all its usual French connotations of "palpable", "nontheoretical", and "experiential", all of which pertain to a greater or lesser extent to the type of music Schaeffer is pioneering. Despite the risk of ambiguity, we decided to translate it with the English word ''conc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Funk
Funk is a music genre that originated in African American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of various music genres that were popular among African Americans in the mid-20th century. It de-emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and a drum part played by a percussionist, often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with rhythm instruments playing interlocking grooves that create a "hypnotic" and "danceable" feel. Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths and thirteenths. Funk originated in the mid-1960s, with James Brown's development of a signature groove that emphasized the downbeat—with a heavy emphasis on the first bea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psychedelic Rock
Psychedelic rock is a rock music Music genre, genre that is inspired, influenced, or representative of psychedelia, psychedelic culture, which is centered on perception-altering hallucinogenic drugs. The music incorporated new electronic sound effects and recording techniques, extended instrumental solos, and improvisation. Many psychedelic groups differ in style, and the label is often applied spuriously. Originating in the mid-1960s among British and American musicians, the sound of psychedelic rock invokes three core effects of LSD: depersonalization, dechronicization, and dynamization, all of which detach the user from everyday reality. Musically, the effects may be represented via novelty studio tricks, electronic music, electronic or non-Western instrumentation, disjunctive song structures, and extended instrumental segments. Some of the earlier 1960s psychedelic rock musicians were based in contemporary folk music, folk, jazz, and the blues, while others showcased an expl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals. As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisationa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avant-garde Music
Avant-garde music is music that is considered to be at the forefront of innovation in its field, with the term "avant-garde" implying a critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elements, and the idea of deliberately challenging or alienating audiences. Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition. Distinctions Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition. In a historical sense, some musicologists use the term "avant-garde music" for the radical compositions that succeeded the death of Anton Webern in 1945,Paul Du Noyer (ed.), "Contemporary", in the ''Illustrated Encyclopedia of Music: From Rock, Pop, Jazz, Blues and Hip Hop to Classical, Folk, Worl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Krautrock
Krautrock (also called , German for ) is a broad genre of experimental rock Experimental rock, also called avant-rock, is a subgenre of rock music that pushes the boundaries of common composition and performance technique or which experiments with the basic elements of the genre. Artists aim to liberate and innovate, with ... that developed in West Germany in the late 1960s and early 1970s among artists who blended elements of psychedelic rock, avant-garde music, avant-garde composition, and electronic music, among other eclectic sources. These artists incorporated hypnotic rhythms, extended musical improvisation, improvisation, musique concrète techniques, and early synthesizers, while generally moving away from the rhythm & blues roots and song structure found in traditional Anglo-American rock music. Prominent groups associated with the krautrock label included Neu!, Can (band), Can, Faust (band), Faust, Tangerine Dream, Kraftwerk, Cluster (band), Cluster, Ash Ra Tempel, Pop ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rebop Kwaku Baah
Anthony "Rebop" Kwaku Baah (13 February 1944 – 12 January 1983) was a Ghanaian percussionist who worked with the 1970s rock groups Traffic and Can. Biography Baah was born on 13 February 1944, in Konongo, Gold Coast. In 1969, Baah performed on Randy Weston's album ''African Rhythms''. In the same year he worked with Nick Drake on the song "Three Hours", posthumously released in 2004 on the compilation album '' Made to Love Magic''. He then joined the English band Traffic in 1971, having met them in Sweden during a tour. He appeared on the albums ''Welcome to the Canteen'', '' The Low Spark of High Heeled Boys'', ''Shoot Out at the Fantasy Factory'', '' On the Road'', and ''When the Eagle Flies''. In 1973 he performed in the all-star ''Eric Clapton's Rainbow Concert''. After Traffic disbanded in 1974, he played on Steve Winwood’s self-titled debut solo album, which was released in 1977. Also in 1977, he joined the German band Can along with former Traffic bassist Rosko ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Krautrock")