(Photo by Spoon Records) The second phase of the Can live series, “Can Live in Paris 1973”, is set for release on vinyl, CD and digitally on 23 February 2024 via Mute and Future Days (the new EU label created by Spoon Records).

“Live in Paris 1973” finds Can for a performance recorded at L’Olympia in Paris on 12 May 1973, marking the first of the live series to feature Damo Suzuki on vocals. From 1970-73 the core line up of Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay were joined by Japanese improviser and vocalist Suzuki. They met after a chance encounter while Suzuki was busking in Munich.

Here is an excerpt of “Can Live In Paris 1973”.

This new album shows the band at a particularly important stage of their career, with two of their most important albums – “Tago Mago” and “Ege Bamyasi” – recently released. The recording itself was uncovered and pieced together from recordings within the Spoon Records vaults and those sent in by helpful fans, and brought into the 21st century by founding member Irmin Schmidt and producer / engineer René Tinner who have compiled and edited all the albums in this series.

The new release follows “Can Live in Brighton 1975”, “Can Live in Stuttgart 1975” and “Can Live in Cuxhaven 1976“.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

The third in the series of live CAN albums will be out on 14 October 2022. “Can Live in Cuxhaven, 1976” is the latest in the series which began in 2021 with “Can Live in Stuttgart 1975” and presents a shorter, more concise performance by Can over four sections. The new album is set for release on limited edition blue vinyl and CD.

The Can Live series has taken the best of Can’s bootlegged recordings – many of which were recorded by Andrew Hall, who died in April 2021 – and, overseen by founding member Irmin Schmidt and producer / engineer René Tinner.

You can listen to a snippet below.

The sleeve notes for this release were written by the French author Pascal Bussy, whose books include “The Can Story” (co-authored with Andy Hall, 1989) and “Kraftwerk: Man, Machine, and Music” (1993).

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

(Photo by Spoon Records) Mute and Spoon Records have released details of the second in a series of Can live album releases. “Live in Brighton 1975” will be released December 3 on limited edition triple gold vinyl, double CD, and digital platforms.

Sleeve notes for the release were written by Can biographer, author, and editor Rob Young and British journalist Kris Needs. The latter was involved in several live Can shows at the Friars club in Aylesbury, England between 1973-1977.

The Can Live series has taken the best of the bootlegged recordings and – overseen by founding member Irmin Schmidt and producer / engineer Rene Tinner – run them through the wringer of 21st century technology to bring you these vital historical documents in the best quality versions possible.

Here’s an excerpt from what to expect.

About Can

Can was a German experimental rock band formed in Cologne in 1968 by the core quartet of Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group cycled through several vocalists, most prominently the American-born Malcolm Mooney (1968–70) and the Japanese-born Damo Suzuki (1970–73), as well as various temporary members.

Coming from backgrounds in the avant-garde and jazz, the members of Can blended elements of psychedelic rock, funk, and noise on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973).[7] Can also had occasional commercial success, with singles such as “Spoon” and “I Want More” reaching national singles charts. They have been widely hailed as pioneers of the German krautrock scene, and a considerable influence on subsequent rock, post-punk, ambient, and electronic music.

More interesting for many of our readers is that Jaki Liebezeit would go on to record with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble’s 30 Hertz Records, and contributed drums and percussion to many albums as a guest musician over the years, such as the Depeche Mode album “Ultra” and Brian Eno’s album “Before and After Science”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Irmin Schmidt (Can) has announced “5 Klavierstücke”, an album of five piano pieces recorded last year. “5 Klavierstücke” is out on Mute in conjunction with Spoon Records on November 16. The album coincides with events centered around his works occurring later this year including the Braunschweig International Film Festival and the Volksbühne in Berlin.

Irmin Schmidt explains, “The tracks are spontaneous meditations, only played once and recorded simultaneously – no edits or corrections. They are formed from an emotional memory in which Schubert, Cage, Japan (Gagaku) and Can are equally present.”

“5 Klavierstücke”, was recorded and produced by Gareth Jones in the South of France on Irmin Schmidt’s two grand pianos, a Pleyel piano and a 100-year-old Steinway. All ambient sounds were recorded on site – around Schmidt’s studio – and there are no other instruments or electronics of any kind.

This is Irmin Schmidt’s first solo release since “Electro Violet” – a collection of his entire solo work – in 2015.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Out on November 20th is “Electro Violet”, a 12 CD strong career spanning retrospective box set by Can founding member Irmin Schmidt. The set holds his entire solo work from 1981 to the present day and will be out on Mute / Spoon Records. The 12 CD set is available here on Amazon.

The collection travels through his “Gormenghast” opera, solo albums, collaborations with Kumo (Jono Podmore) and Duncan Fallowell, plus his extensive film soundtrack work. All six solo albums are featured in Irmin Schmidt’s “Electro Violet” boxset alongside six soundtrack CDs that provide an overview of Schmidt’s work for film, including a previously unreleased album, “Film Musik Anthology Vol. 6”.

The “Electro Violet” box comes with a 40-page booklet, featuring new liner notes from Max Dax and Irmin Schmidt. Each album is presented in an individual gatefold sleeve with the artwork, entitled ‘Bärenkuss 5’, coming from longtime friend and Berlin artist, Franek. The original art measures at 5×4 feet.

Listen to “Why Not”, an unreleased track from the box set below taken from the soundtrack of German director Stephan Wagner’s 2012 film, “Lösegeld” (produced by WDR / ARD). It features Markus Stockhausen (son of Karlheinz Stockhausen) on trumpet.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com