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Can Band
Can (stylized in all caps) were 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). They featured several vocalists, including American Malcolm Mooney (1968–70) and Japanese Damo Suzuki (1970–73). They have been hailed as pioneers of the German krautrock scene. The founding members of Can came from backgrounds in avant-garde music and jazz. They 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, and ambient acts. History 1960s Can was formed in Cologne, Germany, in 1968 by Holger Czukay (bass), Irmin Schmidt (keyboard), Jaki Liebezeit (drums) and Michael Karoli ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Karoli
Michael Karoli (29 April 1948 – 17 November 2001) was a German guitarist, violinist, and sound-mixer. He was a founding member of the krautrock band Can. Biography Early life Michael Karoli was born 29 April 1948 in Straubing, Bavaria, to Susanne and . The year of his birth, Hermann "had just been freed after testifying in the Nuremberg Trials" and Pohl trial. Hermann had been a member of the Waffen-SS and fought on the Eastern Front during the WWII. After Herman got shot in his lung, he was moved back to Berlin, where he headed the audit department of the Berlin administrative centre until the end of the war. In 1943, Hermann married Susanne who had worked as a film editor. After the trials, Hermann and his brother Richard established an accounting company based in Essen, and in 1971 ''Der Spiegel'' magazine called Karoli one of the "most influential consultants to West German companies". Growing up, Michael Karoli learned banjo, violin, cello, and electric guitar. Kar ... [...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 Seiich ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ege Bamyasi
''Ege Bamyası'' (, lit. " Aegean okra") is the third studio album by German krautrock band Can, released on 29 November 1972 by United Artists Records. The album contains the single "Spoon", which charted in the Top 10 on the German singles chart after its inclusion as the theme song to the German television mini-series ' (1971). The success of the single allowed Can to establish their own studio, in Weilerswist, where they completed the rest of the album. It was recorded and produced under a strict June 1972 deadline, finishing "Soup" a day before the end date. ''Ege Bamyası'' was met with critical acclaim, praised for skilful fusion of experimental music, electronic sounds, and avant-funk. ''Spectrum Sounds'' magazine called the album's experience as "maybe the most danceable that experimental music gets". Retrospective reviews highlighted that the album stands out among Can discography for being one of the band's most focused and tense records. Can helped popularize the ... [...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 United Artists Records. It was the band's first full studio album to feature vocalist Damo Suzuki after the departure of Malcolm Mooney the year prior, though Suzuki had been featured on most tracks on the 1970 compilation album ''Soundtracks''. It was recorded at the in the Schloss Nörvenich, a medieval castle near Cologne. ''Tago Mago'' features long-form experimental tracks blending rock and jazz improvisation, funk rhythms, and ''musique concrète'' tape editing techniques. The album 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. Ned Raggett of ''AllMusic'' called it "not merely one of the best Krautrock albums of all time, but one of the best albums ever, period." Background After Malcolm Mooney left Can in Decem ... [...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 ''co ... [...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 deemphasizes 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. It uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, and 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 be ... [...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 (the bending of time), and dynamization (when fixed, ordinary objects dissolve into moving, dancing structures), 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 w ... [...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. Its roots are in blues, ragtime, European harmony, African rhythmic rituals, spirituals, hymns, marches, vaudeville song, and dance music. 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. 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. However, jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, ... [...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. The biggest distinction between avant-garde and experimental music was how it relates to tradition. Other distinctions include subject matter, as well as having a superficial idea to avoid diving into serious subjects. Even though avant-garde and experimental music have many distinctions, experi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Krautrock
Krautrock (also called , German for ) is a broad genre of experimental rock that developed in Germany in the late 1960s and early 1970s. It originated among artists who blended elements of psychedelic rock, avant-garde composition, and electronic music, among other eclectic sources. Common elements included hypnotic rhythms, extended improvisation, musique concrète techniques, and early synthesizers, while the music generally moved away from the rhythm & blues roots and song structure found in traditional rock music. Prominent groups associated with the krautrock label included Neu!, Can, Faust, Tangerine Dream, Kraftwerk, Cluster, Ash Ra Tempel, Popol Vuh, Amon Düül II and Harmonia. The term "krautrock" was popularised by British music journalists as a humorous umbrella-label for the diverse German scene, and although many such artists disliked the term, it is no longer considered controversial by German artists in the 21st century. Despite this, English-languag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
All Caps
In typography, text or font in all caps (short for "all capitals") contains capital letters without any lowercase letters. For example: All-caps text can be seen in legal documents, advertisements, newspaper headlines, and the titles on book covers. Short strings of words in capital letters appear bolder and "louder" than mixed case, and this is sometimes referred to as "screaming" or "shouting". All caps can also be used to indicate that a given word is an acronym. Studies have been conducted on the readability and legibility of all caps text. Scientific testing from the 20th century onward has generally indicated that all caps text is less legible and readable than lower-case text. In addition, switching to all caps may make text appear hectoring and obnoxious for cultural reasons, since all-capitals is often used in transcribed speech to indicate that the speaker is shouting. All-caps text is common in comic books, as well as on older teleprinter and radio transmission syste ... [...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 in 1944 in Konongo, Gold Coast. In the Akan culture of Ghana, Kwaku is a name meaning "male born on Wednesday". 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
