Future Days is the fourth studio album by the German experimental rock group Can, released in 1973. It was the last Can album to feature Japanese vocalist Damo Suzuki, and sees the band exploring a more atmospheric sound than their previous releases. On Future Days, Can foregrounds the ambient elements they had explored on previous albums, dispensing largely with traditional rock song structures and instead "creating hazy, expansive soundscapes dominated by percolating rhythms and evocative layers of keys". PopMatters wrote that "It feels as if Future Days is driven by a coastal breeze, exuding a more pleasant, relaxed mood than anything the band had previously recorded." The album cover shows a Psi sign in the middle (drawn in the same style as the font used for the cover) and the I Ching symbol ding/the cauldron below the title. The surrounding graphics are based on the Jugendstil artstyle. Some versions of the vinyl album have a slightly different cover in which the graphics don't have a light emboss or in which the lightly reflective gold tint is replaced by a flat yellow instead. These differences are also present on the CD releases. Even though not all versions of the covers are fully identical, the tracks do not differ on any release version.
theres a track on here so long it managed to soundtrack my run from the middle of town all the way to my flat to take a shit
50 years later and it still sounds like the future.
Quick, name a group where the drummer is the most important member. First, let's deal with some obvious choices. Keith Moon of the Who would crash bang wallop into plenty of people's minds when posed that question (although, even subtracting the years when they had separated, the Who has existed for for over twice as many years without Keith Moon than with him). John Bonham, the drunken blacksmith of Led Zeppelin, at least had the band disband when he carked it. Some may suggest Neil Peart, but that carries the proviso that Rush were a right load of yellowing wank. And if Rush are yellowing wank, then the Eagles with Don Henley are fluorescently yellow wank, a yellow that can take out your eyeballs. My dear quackers, the connoisseur's choice for the best decisive drummer in a band is Can's Jaki Liebezeit, the funkiest German who ever drew breath. Against sensible writing practice, I shall not discuss the deific rhythm of Jaki Liebezeit here, as it makes more sense to me that such a hagiography belongs in my review of Tago Mago, their freaky-deaky masterpiece where one cannot distinguish between Jaki and his drumkit. So instead, a quick explanation of Can. Can began in the late sixties when keyboardist and student of Karlheinz Stockhausen Irmin Schmidt returned to Cologne from New York, fascinated by the Velvet Underground and Sly and the Family Stone. Schmidt joined up with bassist and fellow Stockhausen alumnus Holger Czukay and Czukay's guitarist pupil Michael Karoli to forge a new, European take on rock, not blues-based but informed by the avant-garde and musique concrete the men had been weaned on. Add to the mixture a disaffected free jazz virtuoso drummer who had been developing a whole new philosophy of beat, and thence were born both Can and krautrock. Krautrock is the not-especially-PC term contemporary British champions gave for experimental German rock of the 1970s. The astute reader might wonder why we employed the term krautrock at all, since Britain also had its share of experimental rock bands, which we unified with the nominer progressive rock. I like to think that the distinction is important because the 70s German experimental rock bands were a billion times better than the 70s British experimental rock bands. The krautrock bands had no time for flatulent solos, dimwitted concept albums or overwhelmingly banal themes pilfered from Tolkien and Heinlein (if you dare compare Can to Pink Floyd, I will break your hands). Instead, they followed their cutting-edge classical forerunners in making genuinely expansive music that stepped beyond the templates of rock song structure into the realm of the infinitely possible. Although the separate krautrock groups each pursued markedly different paths, two broad styles emerged: the dreamy cosmic ambience of Tangerine Dream and Ash Ra Tempel, and the 4/4 motorik beat-driven hypnotic bliss of Can, Neu! and Kraftwerk. As much as I love the former, it's the latter that's clearly what you want to spend your pocket money on. There are two figures to Can I haven't mentioned yet: the singers. The first singer was Malcolm Mooney, an African-American beatnik poet who sadly suffered from mental health issues and had to return to New York after cutting their first released album, the excellent Monster Movie. Finding themselves singerless for an upcoming gig one evening, earlier that day Can spotted a Japanese busker called Damo Suzuki giving a performance art piece in the middle of the street and recruited him straight away. Fortunately Damo's beautiful gibberish (a fusion of English, German, Japanese and whatever sounds Damo thought would work, Damo asserted it was "the language of the Stone Age") complimented Can's trippy, pulsing funkiness perfectly, bcoming an essential component in Can's greatest albums. You know how certain bands possess a groove unique to themselves? Like how when Ray Manzarek's organ and Robby Krieger's guitar interlock in the best tracks of the Doors? Can constructed their best albums from their singular groove. Karoli's guitar gently yet determined soars, Damo's nonsensical, mellifluous vocalisms lie gossamer over the music, and His Holiness Jaki Liebezeit shows that the beat don't stop and that's a fact, Jack. "Constructed" is the apt verb: Can would jam for extended periods (16-hour sessions were common), and Schmidt would subsequently edit the recordings of these, cutting pieces from the tangle that the organism Can weaved. The best example of the Can groove on Future Days is on Bel Air, the 20-minute album finisher. Like pretty much every 20-minuter Can released, it's a real treat, even though the length might render the casual listener apprehensive: casual listener, try growing some balls and a pair of ears. This is in no way to dismiss the rest of the album: Future Days is an unrestricted corker. Can have two albums on the list (they really deserve to have at least 4), and whilst Future Days might not be quite as good as their other included album Tago Mago (in fairness, Tago Mago is a bit ONE OF THE GREATEST ALBUMS EVER MADE), Future Days still justifies, without qualification but with aplomb, its 5 stars. Just listen to the damn drums, man!
I am very happy that this record is in this list. It allowed me to listen to it again and appreciate it at its fair value. An album full of small subtleties and intoxicating details. It's both pop and experimental, charming and relaxing, yet uplifting. A masterpiece.
This was pretty cool! Not much to say, just a few songs. But I think it's amazing that an album with this sound and structure was made in the early '70s. I don't mind long songs, and the longest one here was my favorite. Favorite tracks: Bel Air, Future Days. Album art: Very simple logo, but a cool design. Nice colors too. "Can" might be the simplest band name I've ever heard. 3.5/5
Yup. It’s a keeper. Definitely knew nothing of them until this program turned me on to it. Keep them coming.
Well this is already great. Previous knowledge of Can was basically all of Tago Mago and Vitamin C. But this is Can chilled out and spaced out. Real head music, as they say... So glad I've got another go-to record by them now.
I loved how calm it made me feel
Magical album. Loved the drumming on this.
Absolutely excellent, groundbreaking tunes and an addictive listen.
"50 years later and it still sounds like the future," as someone wise said in this group. It's no coincidence Can has been quoted, praised or embraced by the likes of Radiohead, Portishead or LCD Soundsystem. This German answer to seventies prog-rock understood how one could convey the same hypnotic canvas without resorting to shtick or unnecessary campy solos. A wide variety of styles, from punk to techno, can thank those kraut prophets for their groundbreaking work. This particular album, the last one fronted by singer/howler Damo Suzuki is remarkable for many things, but what's probably most striking is the mesmerizing intricacies of the rhythm section and the very chilled, laidback instrumentation. Think of avant-garde brainy music students being suddenly stranded on a tropical desert island. The end result is lean, devoid of fat, and it's both tense and dreamy all at the same time. This is the last album in the legendary trilogy *Tago Mago*, *Ege Bayasim* and *Future Days* (to which one could easily add precursor *Monster Movie*--Malcolm Mooney was a spectacular frontman, too). As such, it should be owned by every fan of inventive, evocative, groovy, moody, leftfield, forward-sounding music. Number of albums left to review or just listen to: 890 Number of albums from the list I find relevant enough to be mandatory listens: 58 (including this one) Albums from the list I *might* include in mine later on: 29 Albums from the list I will certainly *not* include in mine (many others are more important): 24
Awesome explorations into the depths of the future. Moonshake and Spray are top tier stuff. Ideal soundtrack to eat Chef Boyardee's Raviolis to.
Now this is the weird shit I've been waiting for. Never heard of Can before but I love this type of music. It feels very ahead of it's time. I span this a couple of times today and will do so again as it was a trip. Keep this stuff coming.
So Krautrock. Damo Suzuki. All these things I know by name but not aurally. It's definitely not prog rock, I mean it can't be as I enjoyed it, nay, was really taken aback. A real wowsers album.
Beautiful songs - Can at their best.
The titular track ‘Future Days’ serves as an optimistic opener. The song sails to shore amid slurpy water and warbling wind for two minutes; an ocean-liner organ honks and all the sounds shift into a breezy beat upon reaching the beach. Busily building tension, the band doesn’t drop the volleyball; each instrument skillfully serves the sound and keeps aloft the ambience. Sandpaper percussion scrapes away endlessly; guitar goes again-n-again high and harmonic; onion-y organ peals colorful chords, layered; bass only occasionally underlines a downbeat. Birds chirp and a man mumbles atop this noisy bop. Few words can be discerned; but the one for-sure phrase, for the sake of future days, attached as it is to its hummable lilt, makes for an auspicious and very memorable message. The song jives in its stratified structure, so delicate in its development. Every man jams and no one leads; but everything flows together consistently like a moving amoeba for the entire ten-minutes of tune. The big finish final minute turns into a total trance, the listener likely under the influence of fantasy for the future days. ‘Spray’ starts off burbling and bursting with watery horrid chords. The song swims away as if stalked by prey, the pace quick and panicked. The mad mood persists throughout the piece, repetitive but relentless. Despite the drone, every sudden sound startles. Crash, bump, boo! As principle propeller of the piece, the cymbals are sharp and assertive here. Bongos bonk. Dark guitars reach out of their trench, threateningly. Organ tones blow bubbles and pop. As before, the band spreads out their idiosyncratic organic jam all over the song. Indeed, the Can just can’t contain the jam. Every instrument manages to maintain interesting textural intricacy in an utterly minimalistic manner. The track eventually calms down long enough to settle into a subdued groove for the final few minutes. Words are heard with no chance to be understood. Muttered and mixed low, the lyrics are as mysterious as the deepest sea. In its mere three minutes, fast-blast ‘Moonshake’ proves that Can could be both an always-open “Can of Jam” as well as an effervescing “Pop Can”. The track shudders under a taut beat. Right from the get-go, grossly low ghost tones quaver as if plucked on a rubber band while a groovy guitar cuts a couple chords and the keys keep to a quiet variety. Supplemental percussion reverberates with the brisk beat. The muddled melody bobs along using more choice words of obscurity. Cue keyboard “solo”: the song proceeds through a passage of electronic fiddle-diddle, a sequence of bizarre beeps and squeaks, sweeps and scratches. Although out of touch with the epic and impressionistic pieces found on the rest of the album, ‘Moonshake’ is a dandy danceable tune in its own right. Big ‘Bel Air’ begins with floaty tones, guitar predominating with some sunny chords as flutes and synths move melodically and squeaky bass plays all over the place. Busy drums begin to boogie. If ‘Future Days’ stays on the earthen beach and ‘Spray’ takes a plunge into deep waters, then ‘Bel Air’ ascends into the skies. Welcome to a new world: more mumbly words likely describe the cosmic majesty of this mysterious world from on high, but who can tell? On and up the music moves at will with no impediments to its progress. Chords descend again and again in mesmerizing patterns. The elevation changes. The song passes through clouds and comes into open airs, next sections, a touch of turbulence. The tune travels around different sides of the sky. Everything changes, but still, nothing changes. In this static way, the music is more like visual art; the song experience may be compared to the way a viewer’s eye gazes freely around the contents of a canvas to discern details. It’s all there at once, but the subtle shades of color make the masterpiece. A song is a song, and ‘Bel Air’ is a guided tour of course; but unlike other songs, this one has no definite direction—it chooses to cruise uncompromisingly through its own noble domain. In its middle, the song settles down back to the ground (hear the birds, hear the bugs) only to start the lift-off all over again with a few new mellower melodies included in the mix, all as bewitching as before. If “bel air” is to be translated from French and understood as “beautiful air”, then this track’s title couldn’t be more truthful. As a product of 1973, Future Days predates ambient music. But in keeping with its forward-looking title, the album managed to defy time with its own utterly unique brand of texture-jam. The attention is on the atmosphere alone. The climate is very cool. Don’t wait for a future day to hear this album.
Very good, love the ambience of the first track, love the chaos of the second one, and the in-between chaos and calm of the last 2. Fantastic album.
Metronomic greatness. If you can class this as proggy, this is how it should be not that bloated Genesis album I just had to listen to.
Favorite album I've heard so far. Sort of a Bitches Brew lite. Works as background music but if you give it your attention there is a lot to discover on repeated listens. I will be listening to this one many more times. Incredible drumming also.
Damo's glorious Swan Song with Can. His era was their best, and he left on a beautiful high note. There's nothing else quite like this album, except maybe some of Miles Davis' fusion material? I used to listen to this album to go to sleep to all the time. It has this completely intoxicating, hypnotic sound that just transports me to another place. The atmosphere is exquisite on headphones. I could also see it working well at a chill social gathering. It has such a tranquil and pleasant mood, yet it is far from fluff. In a word: sublime.
Felt like i was meditating listening to this. Very out there, but really liked it.
Moonshake is the kind of song that, if you’re listening on headphones and aren’t careful, you will find yourself dancing without abandon to in public. It will be hard to find an album with more invigorating drumming on this list.
5 out of 5. Love the vibes. Experimental, but I get what’s happening. Love it.
This a landmark album. The mix of ambient music, psychedelic rock, and more electronic sounds sounded like something I could expect to be released by an experimental indie band today. For this to have been released 49 years ago and still sound as relevant as it does is incredible. Can was clearly extremely ahead of their time.
Only the second time I listen to It. WOW !
Arguably the best CAN album, drumming is wild absolute classic
Classic Can album. Tago Mago - Ege Bamyasi - Future Days - Soon Over Babaluma: a sequence of 4 consecutive 5-star albums.
This is next level awesome. Still sounds fresh and cool today.
I love the krautrock, and krautrock doesn't get much better than this. I still prefer Tago Mago (which I find a little more focused), but this album is full of goodness.
Love it! Prog, but on a more chill side.
10/10 Can has gotta be one of the coolest rock bands I’ve ever heard
10 Albums You Actually Need to Hear Before You Die Chapter 5 Save that Money for a Rainy Day: Can’s “Future Days” It’s an exceptionally rainy and chilly late-September day here in New Jersey, the kind of day where there’s no point in leaving the house, unless it’s an absolute necessity. Better to just stay indoors and take advantage of a rare lazy Saturday. Truth be told, in my twenty-odd years of Can fandom, I’ve really never considered Future Days to be a “rainy day” album. Odd as that might seem, given Future Days’ aqueous themes, it never occurred to me until today. This album always felt very summery, like an album to put on around 7pm on an August night at the beach: the perfect soundtrack to an ocean-viewed sunset. While it fits well for that type of scenario, there is a sense of foreboding running through Future Days, which I am more attuned to today, making it a fantastic record for a rainy day. Can’s intense, minimalist rhythmic drone pulsates, like the sound of droplets of rain pounding down onto your windowsill. Keyboards and sound effects mimic gusts of wind, pushing the sheets of rain back and forth through the air, all while you share a conversation with a close friend (in the form of Can frontman Damo Suzuki). You’re left with a feeling of timelessness: the sky outside looks the same at 4pm as it did at 9 am and there’s no point in keeping track as the hours slowly tick by. It’s a feeling that was true fifty years ago, it’s true today and it will still be true fifty years in the future. Can, seemingly, has found a way to transcend time and space with their music. How else do we account for an album that, 50 years from its release, sounds just as fresh and ahead of its time today? I suspect that in 2073, 100 years from its release, it will still sound ahead of its time, even if I’m not around to confirm that theory. You might think I’m crazy for that statement, but do yourself a favor and listen to Bel Air at the 4:30 mark. Right there, that is the moment that modern-day Radiohead was born. That’s a good 25 years before Johnny Greenwood and Thom Yorke would find success in bringing experimental music to a mainstream audience. Now imagine where this record might lead us, with future generations discovering Can and turning their influence into something new… For the sake of future days, indeed.
Classic!
Very unexpected 5. I would not predict give full marks to avant-garde, kraut-rock but here we are. Jazzy, ambient, weird but accessible. Sounds like a lot of the Ninja Tune stuff or Beastie Boy tracks I was listening to 25 years later.
This is the first album that felt really truly ahead of its time. This feels like post rock. This is soothing and amazing. Five stars.
Oh hell yeah! Love love LOVE CAN!! This record is one of my personal favorites! Love all the builds and the drumming is phenomenal! Fantastic guitar work as well on this album.
Very ambient and chill but still super jammy. I can definitely see how much this influenced post-rock down the line. I need to listen to more Can.
At times “Future Days” drops its slight concessions to continuity and song to dissolve into sunny daubs and doodles, with only Liebezeit’s blissful, maddeningly tight percussion driving us on. A friend once described this as his perfect summer album and now I agree with him.
Great Futuristic Folk Music
Not for everyone, but a really strange and beautiful album if you give it a chance. Bel Air is one of the most engaging 20 minute songs I can think of.
A good starting point for CAN and arguably their best album. I would occasionally put this on when I would go to sleep, not because it's boring but because you can get lost in it. I'm always struck by how subdued this feels, particularly the title track and the album closer, at least in comparison to the previous two albums. Even Damo Suzuki sounds like he's restraining himself, vocally at least, either intentionally or from the input of the other band members. Whatever the case is, the end result creates a very focused, fuller realized, set of songs open to more texture and atmospherics in line with their aspirations for writing music for film. In a way, this is CAN at their most mysterious, weird, and adventurous. A 5 rating from me for the albums weight but really more of a high 4 because it doesn't always stick in my head the way I would think.
Well I'm new to Can but I could see them becoming a new obsession. Brilliant rhythms make for an upbeat enjoyable listening experience and one that I think will hold up to repeated listens...already listened twice today. 4 🌟 bordering on 5
huge surprise here. i'd never heard of them, and yet they were reborn in the late 90s in the form of Air. i've found myself saying this a lot, but i really enjoyed that final track - i guess that was a thing, to throw out some truly ridiculous stuff right at the close of the album. never really thought about it, but now that i am, of course it was a thing. anyway, it's a fun one, and i'm still having trouble believing this album came from 1973. we really did just recycle a lot of the stuff from our collective youth, i suppose, in the 90s...we brought back disco in the form of techno, the vw beetle in the form of the vw beetle...and the influence of the light, airy feel of this album persists across the feathered hair of the 80s, all the way into the 'retro' instagram filters of the moment. it's like they found a wormhole, and somehow lived on both sides of it at once.
The CAN man can, and the CAN'T man can't, but what happens when the CANT man CAN'T cant?
this album both does and doesn't seem like it would've come out in 1973! future days seems hard to pin into one genre, too. experimental, electronic, ambient. it was a weird but calming sound? the album sounded way more like it came out closer to 2024, but also i can hear how at home it is in the 1970s with that experimental, electronic sound. can is definitely a contemporary of kraftwerk! the vocals, for what it's worth, are muted and not even that intriguing. the instrumentals are, by far, more fascinating! the intro to the album is so distorted and uneasy. can had so much more of a command over their instruments rather than their vocals.
Well this was very interesting. Wasn't sure at first but this grew on me! I need to give a second listen though but I enjoyed the Pink Floyd vibes and I wonder if Radiohead were inspired by this
Oh, Can.. I do like the obvious ones but mostly it all drifts by amiably. So it was here. Air have probably heard the title track.
I thought an interesting song came on but it turned out to be Spotify automatically skipping to a Wire song after the album was over.
Can more like Can’t listen to this anymore. This really wasn’t that terrible of an album it just was relatively boring. The long experimental prog rock songs had no obvious start or finish and when the album ended it was unnoticeable. Overall just a collection of sounds for 40 minutes. 4.0/10
More noise than music. This sounds like a bunch of above-average New York subway buskers found themselves in a recording studio. I would love to meet a dedicated fan of this group and have them explain to me what they love about listening to this album.
Music for people who wear patchouli. Dreadful
This might very well be the album with the fewest tracks I've seen! The album had some decent parts to it, but there was a bit too much noodling around for me. 'Moonshake' was a decent song, but that was also the part that was most different from the rest of the album. If you like slowly progressing and meandering rock, this is for you. Personally I found it a bit too impactless. Strong 2.
Just because you can doesn’t mean you should.
This returned a marginally better result than the last time the Germans and the Japanese hooked up. “Can” make an album. “Can” get it released. “Can” get it played. Can’t make me enjoy it. 1.5
Maybe I wasn't in the mood but didn't get much from this.... Definitely too experimental for me. Maybe would get more from it under different circumstances...
Bobbins. Just pretentious hippy beatnik noise.
Let's call a spade a spade, this is crap and maybe was good when you were high on mushrooms in the 70s but how this is a top 1001 album, I have no idea
Sometimes 'experimental' goes too far, and music just becomes a series of unrelated sounds thrown together as has happened here. This is not for me.
Surprisingly entertaining.
I'm absolutely sure that this album, as well as the rest of Can's catalog, clicks instantly with certain people, but I've only discovered Can's album is a sonic groove that goes over my head with every initial listen. To combat this, I've basically tuned myself so that I can expect to listen to any of their releases multiple times before I fully form any opinion. Yes, Tago Mago's length does scare me with this ruleset, and yes, I realize I should be doing that with most albums, that's a flaw I'm willing to acknowledge, but I will do very little to fix it, and for that I apologize. But I digress, once I get over this first listen hurdle, that's when I know the fun is truly about to begin, and this album does not disappoint. In fact, I would say in general that it absolutely blew my expectations out of the water, with that repetitive yet hypnotizing beat sucking me in almost instantly once I had accepted my fate, and under that spell I was album to see this album for its subdued attempts of making sure the listener is just having a good time. Yes, it may be niche in its exterior presentation, but on the inside you discover a perfect blend of the naturalistic sounds of the jungle with the robotic discotheque found on every street in the year 3000. You may have to sift around a little for those truly magnificent nuggets, until you realize you've been panning for gold on a river of the stuff. Every note, every decision, the correct one. An album to make you dance, an album to make you lay in bed and contemplate, and maybe an album to make you (awkwardly) do both. What I'm saying is this may not be the near perfect psych-pop showcase that is their Ege Bamyası project, but it still goes somewhere beyond that. I'm entranced, and I'm loving every second of it.
Very trippy/trancey. Reminds me a bit of that more modern/electronic Tanto Tempo record this site just reccommended. Crazy that it came out in the 70s it feels super ahead of it's time for that reason. Bands like Animal Collective definitely seem to carry this style of torch with the really trippy jams. With the technology they're working with at the time I can't imagine how crazy this must've been to record/just how generally wild it sounds. 5 stars for being super unique sounding still to this day. Future Days really is an apt title.
I'm not sure why (probably my own silly prejudices) but I expected a really dark sounding album with industrial textures. But it was actually a very breezy album with a tropical feel. There's only 3 lengthy tracks and a shorter one called 'Moonshake'. Although the tracks have a repetitive nature, there's enough movement and variations to keep me engaged. It's jazz/soundtrack/floyd vibe is very cool and although it was recorded in1973, it sounds modern. This would be a perfect album to listen to sunbathing on the beach, and it probably explains why the Germans always look so relaxed :)
I could listen to this era of Can all day. It’s absolutely gorgeous.
So good, I'd maybe underappreciated this in the past - rock solid throughout and possibly their most consistent album
What a delight. Proper band work, varied and tight. I listened as I walked through sunny fields and a birdsong overdub is recommended for the next remastered release!
This could be a 2024 album. Great production magnetic and enjoyable! 5
Second album by Can on this lost, also second with Damo Suzuki at the vocals, although he is the most forgettable part of the band. But what I learnt by listening to this record, is that Can might be my favourite band from the 70s. I have no idea why it is sometimes labelled as Krautrock, when the only thing in common with this genre is the country of origin. For me this is the quintessential psychedelic sound. When I think of psych rock, I think "Bel Air" from now on. Amazing album, great band, criminally underrated (because I have never heard of them before).
So groovy and angular, it keeps trying to get you out of its own grooves.
epic, epic, epic
Once again, thanks to this list I discovered a band I heard of through a full listen to an album and became mesmerized. After listening through twice, I jumped into some other albums by Can and will be adding their short discography to my listening schedule. 5/5
Wybitny album
Good Laid-back background music with sparse whispered lyrics I couldn't understand, which are the best for laid-back background music.
What was yet another phenomenal achievement in the dizzy dizzy career of Can wound up becoming the final chapter in a six part story. Although not as thoroughly explosive and innovative as the prior two albums, Future Days upholds an atmospheric calm that feels just as impactful. Can's increasingly noticable aptitude for crafting pop melodies are sandwiched between the bookending sonic adventures and it does not take away from the overall goal of the record, which was to present another side of the group that was often given in small doses. Ultimately, whether intentional or not, Future Days ended up becoming the beginning of the end for Can as the soon-to-be influential pillar of the new German motorik/kosmische scene for they would wade through uncharted waters that got murky in passage. Yet this is still an essential document that showcased why being in a German band in the 1970s was an exciting place to be for the sake of future days.
Amazing. Great atmosphere. Hard to believe this was made in 1973. There is definitely that experimental vibe. Really glad I listened to this.
fuck yea
Can is a German, experimental rock band that produced beautiful, mesmerizing soundscapes. The tracks on Future Days have an atmospheric, ethereal quality, with a richness that comes from impressive musicianship and intricate composition. The complexity of their work supports their longer tracks; "Bel Air" clocks in at almost twenty minutes. Can was clearly influential; it is not surprising that Radiohead notes that Can was an influence. Can's music also seems like a precursor to a number of electronic music styles.
I’ve never quite been able to understand why I like Can as much as I do, but this is just inarguably brilliant
This was a somewhat offbeat, airy, and unique listen. A nice change of pace. I loved it!
Once again I am surprised at how current this band sounds. Very very enjoyable and interesting.
Beautiful, ethereal soundscape. And with drums that are basically the lead instrument! This album is what this whole website is all about.
This sounds like the future no matter what days you call your own.
This was a new and pleasantly interesting listen for my ears today.
4 songs in 40 minutes. This is brilliant.
It's less iconic and recognizable than their classic album Tago Mago but it's easier to get lost in. You may find that you even start dancing to it unconsciously.
the energy of live music being played around the corner fron the spot you're vibing in
Tago Mago was always my go to, but this album definitely has a place in my rotation. A mellower vibe. This is a beautiful work.
I've been listening to this album for a few years now. I'm a big fan of the motorik drum beat.
I like Can. Very good album.
I did love this and the amospheres it created. It's much less "crazy" than Tago Mago (should I say "eclectic" instead?) but that was just fine with me today. A perfect album for a Sunday afternoon.
I think this is everything I want in an album. Groovy, goofy, and glorious! I'll be revisiting this often. 5 stars!
Awesome album
Really cool stuff, I think the German avant era really speaks to me a lot, but I would say this maybe gets a low 5.
Rythmiques et transitions de l'espace, une folie
Such a great album!
Super onirique et envoûtant 5*
PREFS : TOUT MOINS PREF : RIEN
Amazing unique album that gets better with every listen - drumming is unbelievable.
Yes yes yes. This is insanity.
Obra maestra del krautrock, inquietante y luminosa al mismo tiempo. Con un tema como Moonshake que puede servir de entrada a su universo y otro como Bel Air, de 20 minutazos, que desarrolla todo su mundo de un solo disparo. Impresionante.
Heja Jaki !