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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] |
