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Half-familiar titles turn out to be germinal variations on “Mother Sky”, “Soul Desert”, and “Sing Swan Song”. “Messer, Scissors, Fork and Light”, similarly, is Can working out the various hooks that coalesced into “Spoon”. Some of the material cuts in and out between studio and live recordings, while other studio tracks are extended pieces with well-known album tracks housed in the middle of before-unheard jams.Ĭan 1971 – Irmin Schmidt, Jaki Liebezeit, Michael Karoli, Ulli Gerlach, Holger Szukay, Damo Suzuki A lot of these tracks are distinctly outtakes: alternate versions of familiar themes, or at least ideas Can executed differently elsewhere. Highlights are bountiful throughout the set’s three discs, with soundtrack work like the hypnotic “Dead Pigeon Suite” and brilliant live renditions of classic tracks from the Damo Suzuki era like “Spoon” and “Mushroom.” “Dead Pigeon Suite”, is 12 minutes of what appears to be exploratory jamming toward what became the taut, densely packed single “Vitamin C”. “Halcyon days, not outtakes,” trumpeted the album’s press release. Of the Mooney era, “Deadly Doris” also has the same fuzzy punk vibes meeting the kind of Krautrock groove Can excelled at, while the spoken eeriness of “When Darkness Comes” finds a brittle soundscape of formless tones and menacing muttering. On The Lost Tapes, Mooney rants his way through the ten-plus-minute “Waiting for the Streetcar,” a charged jam that crackles with all the same kind of energy that would embody the post-punk movement years later. It was assembled by Can keyboardist Irmin Schmidt and his son-in-law, Daniel Miller and frequent collaborator Jono Podmore, with the latter credited as editor.Įarly vocalist Malcolm Mooney left the band under doctor’s orders after suffering a nervous breakdown connected with heavy paranoia, and his unhinged vocals characterize collections of early Can recordings like Delay. So The Lost Tapes sounded like a very big deal.
#The lost tapes archive
Edited down to just over three hours, The Lost Tapes still includes an extensive amount of unheard studio, live, and soundtrack work from the band, and at its heights is as revelatory and brilliant as the best material on their well-loved albums.įor the past 30 years, though, all they’ve hauled up from the archive has been a few discs’ worth of live material. These tapes held over 30 hours of unreleased music from Can spanning a nine-year period and including work from both vocalists Malcolm Mooney and Damo Suzuki. When the legendary Can studio in Weilerswist was sold to the Germany Rock n’ Pop Museum, the entire space was disassembled and moved, and in the process, reels and reels of poorly marked and seemingly forgotten tapes were found buried amid other detritus in the studio.
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#The lost tapes cracked
Unlimited Edition from 1976, a collection of tapes that were lying around, includes career highlights like “Connection” and “Cutaway” Delay 1968 is a complete, splendid album that the initial lineup of the band, with cracked American vocalist Malcolm Mooney, recorded before Monster Movie but somehow neglected to release until 1981. They’ve always given the impression that their records were the result of grabbing whatever happened to be nearest at hand when they’ve gone back into their archives for studio material in the past, they’ve resurfaced with outstanding stuff. The received wisdom is that the German experimental rock group spent years in their studio, jamming constantly and recording everything, with bassist Holger Czukay editing the most promising tapes into the magnificent pieces that they released on record between 1969 and the mid-70s. The Krautrock pioneers Can have always been a little cagey about what is and isn’t in their vaults. “The Lost Tapes” from the german krautrock band released on 18th June 2012.