Can (band)

Can

Company type	Experimental rock band
Industry	Music
Founded	1968 in Cologne, West Germany
Founder	Holger Czukay, Irmin Schmidt, Michael Karoli, Jaki Liebezeit
Headquarters	Cologne , West Germany
Products	Music albums, singles

Can (presented in all caps) was a German experimental rock ensemble established in Cologne in 1968 by Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group featured multiple vocalists, notably American Malcolm Mooney (1968–70) and Japanese Damo Suzuki (1970–73). Widely regarded as trailblazers within the German krautrock movement,

Originating from avant-garde and jazz traditions, the founding members fused styles such as psychedelic rock, space rock, funk, samba, and musique concrète on seminal releases including Tago Mago (1971), Ege Bamyasi (1972), and Future Days (1973). Can attained commercial recognition with nationally charting singles like "Spoon" (1971) and "I Want More" (1976). Their innovative output has left a lasting impact on genres such as rock, post-punk, indie rock, post-rock, and ambient.

1960s

In 1968, Can was established in Cologne, then part of West Germany, by Holger Czukay on bass, Irmin Schmidt handling keyboards, drummer Jaki Liebezeit, and guitarist Michael Karoli. Both Czukay and Schmidt had studied under composer Karlheinz Stockhausen and were drawn to exploring the possibilities of rock music. Initially, the group performed under the name The Inner Space.

Later that year, American singer Malcolm Mooney joined the lineup. They recorded an album titled Prepare to Meet Thy Pnoom, which remained unreleased. The band also appeared in the 1969 film Kamasutra: Vollendung der Liebe, providing backing for vocalist Margarete Juvan.

Following Mooney's recommendation, the group adopted the name Can. The chosen name carried positive connotations in several languages—English "can" implying capability; Turkish can meaning "soul" or "life"; as well as Japanese terms such as (kan, signifying "feeling") and (-chan, a suffix denoting endearment). Later on, Liebezeit humorously suggested that the name could be interpreted as an acronym for "communism, anarchism, nihilism."

At the invitation of art collector Christoph Vohwinkel, Can utilized his castle, known as Schloss Nörvenich, as their recording space. There they produced their debut album Monster Movie in 1969, incorporating reworked material from Prepare to Meet Thy Pnoom, including the track "Father Cannot Yell." This release was met with critical praise.

During performances, Mooney displayed unpredictable conduct, often repeating phrases like "upstairs, downstairs" for extended periods post-show. After being diagnosed with a mental health crisis, he departed from Can by the end of 1969. His last studio sessions with the band occurred in December that year. In 1970, Czukay and Liebezeit brought on board Japanese expatriate vocalist Damo Suzuki, whom they discovered busking near a café in Munich; he succeeded Mooney as lead singer.

In that same year, Can collaborated with musician Cat Stevens to create the soundtrack for the film Deep End, contributing a fourteen-minute psychedelic composition titled "Mother Sky." This piece appeared on Can's album Soundtracks (1970), which compiled various film-related compositions.

1971–1973

In these years, Can unveiled some of their most celebrated albums, transitioning from conventional song formats to a more spontaneous and improvisational approach. The double LP Tago Mago (1971) is hailed as a pioneering and highly influential work, characterized by jazz-inspired rhythmic drumming, improvised instrumental passages, innovative tape editing as a compositional tool, and Suzuki's unique vocal delivery. Czukay referred to it as "an endeavor to craft a mysterious musical realm, moving from light into darkness and back again."

In 1971, Can created the soundtrack for the German television crime miniseries Das Messer ("The Knife"). The track "Spoon" was used as the show's theme and climbed to number 6 on Germany’s singles chart.

Following Tago Mago, the 1972 album Ege Bamyasi presented a more accessible yet still experimental sound, featuring both "Spoon" and the single "Vitamin C". According to Czukay, this record reflected the band's lighter disposition and delivered an excellent dry, ambient audio texture.

In 1973, Future Days was released, including the single "Moonshake" alongside extended atmospheric compositions. The nearly 20-minute piece "Bel Air" demonstrated Can’s evolution into an electric symphony ensemble crafting serene yet intense sonic landscapes, foreshadowing elements of ambient music.

After the release of Future Days, Suzuki departed to marry and devote himself to becoming a Jehovah's Witness. Vocal responsibilities were assumed by Karoli and Schmidt; however, fewer songs featured vocals as Can delved deeper into the ambient soundscapes first explored on Future Days.

1974–1979

Soon Over Babaluma (1974) continued the atmospheric direction established by Future Days, while reintroducing some of the harsher textures found on Tago Mago and Ege Bamyasi. In 1975, Can signed contracts with Virgin Records in the UK and EMI/Harvest in West Germany. That year they appeared on BBC’s Old Grey Whistle Test, performing "Vernal Equinox", which notably showcased Schmidt’s rapid keyboard playing. Shortly thereafter, a broken leg sustained by Schmidt led to the cancellation of their UK tour.

The albums Landed (1975) and Flow Motion (1976) marked a transition toward a more conventional sound aided by advancements in recording technology. The disco-inspired single "I Want More" from Flow Motion, co-written with live sound engineer Peter Gilmour, became their sole chart success outside Germany, reaching number 26 on UK charts in October 1976 and resulting in an appearance on Top of the Pops. In 1977, former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both contributing vocals, joined Can for the albums Saw Delight (1977), Out of Reach (1978), and Can (1979).

During this era, Czukay experienced marginalization due to creative conflicts and his limited bass proficiency. Following Gee’s arrival, Czukay concentrated on sonic experimentation utilizing shortwave radios, Morse code keys, tape machines, and other devices. He exited the band in late 1977 before the recording sessions for Out of Reach and Can, although he remained involved in production duties on the latter album.

Reunion and activities after the split

Following their separation, the band members engaged in diverse musical endeavors, frequently contributing as session players. Czukay ventured into ambient music projects and collaborated with artists such as David Sylvian. Jaki Liebezeit partnered with bassists Jah Wobble and Bill Laswell, established the percussion group Drums off Chaos, and participated in the 2005 online release Givt by Datenverarbeiter.

In 1986, Can briefly reassembled with Mooney to produce Rite Time, which was eventually released in 1989. Additional reunions took place in 1991 to record a piece for Wim Wenders' film Until the End of the World, and again in August 1999 when Karoli, Liebezeit, Schmidt, and Jono Podmore recorded a rendition of "The Third Man Theme" for Grönland Records' compilation Pop 2000. That same year, key members performed solo material live at separate events. Since then, Can's body of work has been reissued through numerous compilations, live albums, samples, and a series of Super Audio CD remasters completed by 2006.

Several principal members have passed away: Karoli succumbed to cancer on 17 November 2001; Liebezeit died from pneumonia on 22 January 2017; Czukay passed away due to natural causes on 5 September 2017; and Suzuki lost his battle with cancer on 9 February 2024.

Archive releases

The band issued the compilation Limited Edition in 1974, which was later expanded into the double album Unlimited Edition in 1976, featuring previously unreleased studio sessions. The collection Delay 1968 (1981) gathered unreleased tracks from 1968 to 1969. Cannibalism 2 combined album and single tracks along with one previously unheard song from the 1960s titled "Melting Away."

The Peel Sessions, released in 1995, showcased recordings made for the BBC. The Can Box from 1999 included a documentary video, a concert recording from 1972, and a double live CD that was later issued separately as Can Live Music (Live 1971–1977). Unreleased live performances were featured in the 40th Anniversary Edition of Tago Mago (2011) and the extensive seventeen LP box set Can (2014).

The compilation The Lost Tapes (2012), curated by Irmin Schmidt alongside Daniel Miller, was assembled and edited by Schmidt and Jono Podmore. Beginning in 2021, a series of live recording releases has been issued, reaching six volumes by November 2024, documenting concerts from 1973 through 1977.

Style

Can cultivated a rhythmic and repetitive musical approach influenced by North African music, the works of Stockhausen, and American minimalist composers such as Steve Reich and Terry Riley. Both Czukay and Schmidt studied under Stockhausen; Schmidt had classical training, Karoli contributed elements from gypsy music traditions, and Liebezeit brought jazz influences. Initially pursuing ethnic sounds, the group transitioned towards garage rock following original member David Johnson’s departure. This global music influence is apparent on albums like Ege Bamyasi, Future Days, and Saw Delight, which featured members from various national backgrounds. Their "Ethnological Forgery Series" ("E.F.S") showcased their expertise in crafting ethnic-style music through collective improvisation and studio sampling techniques. Czukay referred to their method as "instant compositions."

Their early rock inspirations included the Beatles, the Velvet Underground, Jimi Hendrix, Sly Stone, and Frank Zappa. The band acknowledged that "Father Cannot Yell" drew inspiration from the Velvet Underground’s "European Son." Malcolm Mooney’s vocal style was likened to that of James Brown, while their initial psychedelic sound bore resemblance to Pink Floyd. Czukay’s editing approach paralleled trumpeter Miles Davis, as both artists recorded lengthy improvisations which were then edited for album releases. Additionally, Czukay and Davis’s producer Teo Macero shared backgrounds rooted in musique concrète. Irmin Schmidt remarked that despite numerous cited influences, their primary source of inspiration was Michael von Biel.

Vocalist Suzuki presented a markedly different style compared to Mooney, employing a multilingual and often enigmatic vocal delivery. Under Suzuki’s tenure, Can produced their most critically acclaimed and commercially successful records. The rhythm section on Tago Mago garnered praise for constructing extended improvisations anchored by hypnotic grooves; songs like "Halleluhwah" highlight an intense trance-infused funk rhythm.

Improvisation, studio work, and live performances

A significant portion of Can's compositions originated from free improvisation, which they later refined for their album releases. Karlheinz Freynik characterized their sessions as "highly anarchic," with each member tapping into their subconscious before mentally syncing to form unified improvisations. The group prioritized a spiritual connection over an intellectual one, performing individually yet achieving cohesion when their creative paths converged.

Malcolm Mooney recounted that during the early 1960s, the band maintained a rigorous schedule, dedicating around thirteen hours daily to work, reviewing recordings at home, and collaborating with Irmin Schmidt, who served as their musical director, to develop lyrics and musical adjustments.

For scoring films, only Irmin Schmidt viewed the movies prior to briefing the ensemble, allowing them to create improvised soundtracks that functioned both within the cinematic context and as standalone pieces.

In live settings, Can frequently combined improvisational elements with segments from their albums. For instance, the "Colchester Finale" track on Can Live integrates portions of "Halleluhwah" into an extended half-hour performance. Early concerts featuring Mooney and Suzuki occasionally startled audiences; actor David Niven reportedly remarked, "It was great, but I didn't know it was music." Following Suzuki's exit, the band's sound grew more intense without vocals but continued to explore lengthy collective improvisations—one Berlin show exceeded six hours—resulting in a vast collection of live recordings. Efforts to fill Suzuki's role included folk singer Tim Hardin, who performed a single song at two concerts in 1975; Malaysian vocalist Thaiga Raj Raja Ratnam, appearing for six shows in early 1976; and English singer Michael Cousins ("Magic Michael"), who toured France and West Germany that same year.

Legacy and influence

During the late 1970s, Can left a lasting impact on prominent post-punk acts such as Siouxsie and the Banshees, the Fall, Public Image Ltd, Teardrop Explodes's Julian Cope, and Joy Division. In the following decade, British new wave artists including Pete Shelley, Gary Numan, Ultravox, The Jesus and Mary Chain, and Primal Scream acknowledged Can's influence. Other groups like the Lumerians and Happy Mondays have also cited Can as a source of inspiration. Music critic Simon Reynolds observed that Can’s avant-funk style anticipated genres such as trip hop and ambient jungle. Brian Eno produced a tribute film dedicated to them, while John Frusciante made an appearance at the Echo Awards when Can received Germany’s highest music accolade.

Radiohead acknowledged Can’s influence on their albums Kid A (2000) and Amnesiac (2001), adopting their method of recording jam sessions followed by editing. The band also performed a live cover of "The Thief" in the early 2000s. Mark E. Smith of the Fall honored Can with "I Am Damo Suzuki" on their 1985 release This Nation's Saving Grace. The Jesus and Mary Chain covered "Mushroom," while Talk Talk’s Mark Hollis credited Can as an influence on both Spirit of Eden and Laughing Stock. Avant-pop group Stereolab frequently incorporate a repetitive motorik rhythm inspired by Can’s style.

Several ensembles have named themselves in homage to Can: Mooney Suzuki, combining Malcolm Mooney and Damo Suzuki’s names; indie rock band Spoon, after the track "Spoon"; electronic act Egebamyasi, taking their name from Can’s album Ege Bamyasi; Hunters & Collectors, named after a song on Landed; and Moonshake, which references a piece from Future Days. Scottish author Alan Warner dedicated novels to members of Can and authored a book focusing on their album Tago Mago. The remix compilation Sacrilege features reinterpretations by artists influenced by Can, including Brian Eno, The Orb, Sonic Youth, and U.N.K.L.E.

Can’s ethnomusicological methodology anticipated the world music movement of the 1980s. Although Kraftwerk had a greater impact on electronic music broadly, Can were pioneers in ambient music alongside Tangerine Dream. Numerous post-rock and New Prog bands such as The Mars Volta have cited Can as an inspiration. Rolling Stone recognized them as trailblazers in space rock. In 2007, Kanye West sampled "Sing Swan Song" on his album Graduation. UK band Loop drew from Can’s polyrhythmic approach, covering "Mother Sky." Yugoslav group Igra Staklenih Perli paid tribute through their song "Pečurka" ("Mushroom").

In the 21st century, LCD Soundsystem referenced Can in their debut track "Losing My Edge." Oasis’s 2008 single "The Shock of the Lightning" was influenced by both Can and Neu!. Japanese psychedelic/krautrock band Minami Deutsch heavily incorporate Can’s sound, with member Kyotaro Mitula performing alongside Damo Suzuki at the Roadburn Festival.

Members

• Michael Karoli – guitar, vocals, violin (active 1968–1979, reunions in 1986, 1988, 1991, 1999; deceased 2001)
• Jaki Liebezeit – drums, percussion, double bass, piano (1968–1979, with returns in 1986, 1988, 1991, 1999; passed away 2017)
• Irmin Schmidt – keyboards, vocals (1968–1979, rejoined in 1986, 1988, 1991, 1999)
• Holger Czukay – bass guitar, sound engineering, electronics, vocals, French horn (1968–1977, plus appearances in 1986 and 1988; died 2017)
• David C. Johnson – reeds, wind instruments, electronics and tape manipulation (1968; deceased 2021)
• Malcolm Mooney – vocals (1968–1970; also participated in 1986, 1988, 1991)
• Damo Suzuki – vocals and percussion (1970–1973; died 2024)
• Rosko Gee – bass guitar and vocals (1977–1979)
• Rebop Kwaku Baah – percussion and vocals (1977–1979; died 1983)

Additional collaborators

• Margarethe Juvan – vocals (1968)
• Manni Löhe – vocals, percussion and flute (1968; passed away 1978)
• Duncan Fallowell – lyricist (1974)
• René Tinner – recording engineer (1973–1979, 1986, 1991)
• Olaf Kübler from Amon Düül – tenor saxophone (1975; died 2024)
• Tim Hardin – vocals and guitar (November 1975; deceased 1980)
• Thaiga Raj Raja Ratnam – vocals (January to March 1976)
• Michael Cousins – vocals (March to April 1976)
• Peter Gilmour – lyrics and live sound mixing (late 1970s)
• Jono Podmore – recording engineer and bass player (1999), sound processing and editing engineer (1999, 2003, 2011–2012)

Timeline

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id:Drums value:orange legend:Drums,_double_bass,_piano
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bar:Malc from:01/09/1991 till:30/09/1991 color:Vocals
bar:Mike from:start till:01/09/1979 color:Guitar
bar:Mike from:01/12/1986 till:30/12/1986 color:Guitar
bar:Mike from:01/09/1991 till:30/09/1991 color:Guitar
bar:Mike from:01/08/1999 till:end color:Guitar
bar:Ir from:start till:01/09/1979 color:Keys
bar:Ir from:01/12/1986 till:30/12/1986 color:Keys
bar:Ir from:01/09/1991 till:30/09/1991 color:Keys
bar:Ir from:01/08/1999 till:end color:Keys
bar:Jaki from:start till:end color:Drums
bar:Cz from:start till:end color:Bass except for sound manipulation periods 
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Discography

(US record labels indicated in parentheses)

• Monster Movie (Liberty, 1969)
• Tago Mago (the initial of four releases under United Artists, 1971)
• Ege Bamyasi (1972)
• Future Days (1973)
• Soon Over Babaluma (1974)
• Landed (Virgin, 1975)
• Flow Motion (the first of four albums issued by Harvest, 1976)
• Saw Delight (1977)
• Out of Reach (1978)
• Can (1979)
• Rite Time (Mercury, 1989)

Videography

• Romantic Warriors IV: Krautrock (2019)

Bibliography

• Bussy, Pascal and Andy Hall. The Can Book. Saf Publishing, 1989.
• Bussy, Pascal. Kraftwerk: Man, Machine and Music. SAF Publishing, 2005.
• The New Musical Express Book of Rock, Star Books, 1975.
• Rock: The Rough Guide (2nd edition). Penguin, 1999.
• Strong, Martin C. Great Rock Discography. (5th edition), MOJO Books, 2000.
• Stubbs, David. Future Days: Krautrock and the Building of Modern Germany. Faber & Faber Rock Music, 2014.

External links

• Official site (Spoonrecords.com)
• Biography on Mute Records
• Comprehensive discography including solo works and live performances