Can Overview

The diversity of the music of Can owes a lot to its equally eclectic influences. Holger Czukay and Irmin Schmidt were both pupils of Karlheinz Stockhausen. This meant that the early Can inherited a strong grounding in his musical theory, with... [more]

The diversity of the music of Can owes a lot to its equally eclectic influences. Holger Czukay and Irmin Schmidt were both pupils of Karlheinz Stockhausen. This meant that the early Can inherited a strong grounding in his musical theory, with the latter being trained as a classical pianist. Michael Karoli, in turn, was a pupil of Holger Czukay, and brought the influence of gypsy music through his esoteric studies. Drummer Jaki Liebezeit had strong jazz leanings. Another important early influence was ethnomusicology: the band's sound was originally intended to be based more on the sound of ethnic music, so when the band decided to pick up the garage rock sound, original member David Johnson left the band. This world music trend was later more clearly exemplified on albums such as Ege Bamyasi (the name meaning "Aegean okra" in Turkish), Future Days and Saw Delight, and by incorporating new band members with different nationalities. A series of tracks on Can albums, known as "Ethnological Forgery Series", abbreviated to "E.F.S", demonstrated the band's ability to successfully recreate ethnic-sounding music. The band's early influences in rock included The Beatles and The Velvet Underground as well as Jimi Hendrix, Sly Stone and Frank Zappa. The band have admitted that the beginning of Can's "Father Cannot Yell" was inspired by the end of the Velvet Underground's "European Son". Malcolm Mooney's voice has been compared to that of James Brown (an acknowledged hero of the band members) and their early style, rooted in psychedelic music, drew comparisons with Pink Floyd. Along with their peers in the krautrock scene, they were under the influence of the wider progressive rock movement taking place in England and elsewhere during the late 1960s and early 1970s. Czukay's extensive editing has occasionally been compared to the late-'60s music of trumpeter Miles Davis (such as In a Silent Way and Bitches Brew): Can and Davis both would record long groove-intensive improvisations, then edit the best bits together for their albums. However, the degree of influence is uncertain, and the similarities are more likely a sort of parallel evolution. Czukay and Teo Macero (Davis's producer and editor) both had roots in the musique concrète of the 1940s and '50s. Damo Suzuki was a very different sort of singer from Mooney: his multilingual (he claimed to sing in "the language of the Stone Age"), often inscrutable vocal style added the missing ingredient to a set of playful pop songs. With Suzuki, the band made their most well known albums, and the rhythm section's work on Tago Mago has been especially praised: one critic writes that much of the album is based on "long improvisations built around hypnotic rhythm patterns"; another writes that "Halleluhwah" finds them "pounding out a monster trance/funk beat". The band's post'“Damo Suzuki period is often criticised[attribution needed] for not being groundbreaking and genre-defining like the earlier albums: although critics had praised Can's sound in the early 1970s as being ahead of its time, the band just used a two track recorder until the release of Landed in 1975. However, they do try out styles they hadn't done before: Landed sees them influenced by glam rock, Flow Motion by reggae, Saw Delight and Out of Reach by world music again, and the guitar of Carlos Santana. [show less]