The Alluring Scent Of Can Studio Cologne

Can Studio, formerly a cinema, was founded in December 1971 in Weilerswist, near Cologne, by the German experimental rock band Can. The studio was known as Inner Space until 1978 when Can soundman René Tinner took over its operations. All subsequent Can albums, except Rite Time, were produced at the studio. The studio is currently being reconstructed to scale as a working exhibit at the German Rock'n'Pop Museum in Gronau, near the Dutch border.

Can's original studio was in a former cinema in Weilerswist, near Cologne

Can, the German experimental rock band, was formed in Cologne, Germany, in 1968. The band's original studio was located in a former cinema in Weilerswist, near Cologne. The studio, known as Inner Space, was founded in December 1971 and served as the creative hub for the band's subsequent albums, with the exception of Rite Time.

The history of Can dates back to 1968 when Holger Czukay (bass), David Johnson (flute), jazz drummer Jaki Liebezeit, and beat guitarist Michael Karoli united through their shared passion for music. Their first performance, a fusion of rock music and tape samples, took place at Schloss Nörvenich, a castle near Cologne. This castle held significance for the band, as it not only served as the venue for their debut performance but also became their first studio space, where they recorded their debut album, Monster Movie.

As the band evolved, they established their own studio in Weilerswist, transforming a former cinema into a hub of musical creativity. This space, known as Inner Space, became a sanctuary for the band's unique sound. The studio was not just a place for recording but also embodied the essence of the band's experimental nature and their desire to push the boundaries of music.

The Can Studio, originally called Inner Space, played a pivotal role in the band's journey. It was here that they crafted their distinctive sound, blending elements of psychedelic rock, funk, and musique concrète. The studio witnessed the creation of groundbreaking albums such as Tago Mago (1971), Ege Bamyasi (1972), and Future Days (1973). These albums not only solidified Can's place in the music industry but also influenced rock, post-punk, and ambient acts that followed.

The impact of Can's original studio in Weilerswist extended beyond the band itself. In 2017, Holger Czukay, a co-founder of Can, passed away and was found in the very studio he had helped establish. This space, once a vibrant hub of creativity, became a memorial of sorts, honouring the legacy of both Czukay and the band that left an indelible mark on the world of music.

Can's debut album, Monster Movie, was recorded in Schloss Nörvenich, near Cologne

Can's debut album, Monster Movie, was recorded in 1969 at Schloss Nörvenich, a castle near Cologne, Germany. The band accepted an invitation from a friend to move into the castle and use it as a recording studio. The album was played and recorded spontaneously, driven by repetitive rhythms, and was then extensively edited. It contained new versions of two songs previously recorded for an earlier album, Prepared to Meet Thy Pnoom: "Father Cannot Yell" and "Outside My Door". Monster Movie received acclaim.

The band Can was formed in Cologne, Germany, in 1968 by Holger Czukay (bass), Irmin Schmidt (keyboard), Jaki Liebezeit (drums), and Michael Karoli (guitar). They featured several vocalists, including the American Malcolm Mooney (1968–1970) and the Japanese Damo Suzuki (1970–1973). The founding members of Can came from backgrounds in avant-garde music and jazz, and they blended elements of psychedelic rock, funk, and musique concrète. They have been hailed as pioneers of the German krautrock scene.

The band initially used the name Inner Space, and their first gig took place at Schloss Nörvenich (Castle Nörvenich, near Cologne). This performance is documented on the audio cassette Prehistoric Future. At Schloss Nörvenich, the band established its first studio, Inner Space, and American sculptor Malcolm Mooney joined the band. Mooney also suggested the band change their name to Can, for its positive meanings in various languages.

In late 1968, the band recorded an album, Prepare to Meet Thy Pnoom, but they could not find a recording company to release it. They appeared briefly in the 1969 film Kamasutra: Vollendung der Liebe, backing the singer Margarete Juvan. During one live performance, Mooney suffered a mental breakdown, shouting "upstairs, downstairs" for three hours, even after Can had stopped playing. On his psychiatrist's advice, he left Can and returned to the US at the end of 1969. Mooney made his last recordings with Can in December 1969 and was replaced in 1970 by Damo Suzuki, whom Czukay and Liebezeit found busking outside a Munich café.

Can's music has influenced rock, post-punk, and ambient acts

Can's music has had a profound influence on rock, post-punk, and ambient acts. Their unique style, which blended elements of psychedelic rock, funk, and musique concrète, has left an indelible mark on the music industry.

Can, the German experimental rock band, was formed in 1968 in Cologne, Germany, by Holger Czukay (bass), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The band's founding members hailed from diverse musical backgrounds, including avant-garde music and jazz, which they seamlessly blended into their creative process.

Can's debut album, "Monster Movie" (1969), showcased their distinctive approach to rock music, with its spontaneous performances and repetitive rhythms. However, it was their subsequent albums that truly defined their sound and garnered critical acclaim. "Tago Mago" (1971), "Ege Bamyasi" (1972), and "Future Days" (1973) are considered landmark releases, showcasing the band's innovative fusion of psychedelic rock, funk, and musique concrète.

Can's influence extended beyond their German roots, impacting the global music scene. In the late 1970s, they left an indelible mark on post-punk artists such as Siouxsie and the Banshees, the Fall, Public Image Ltd, and Joy Division. Can's experimental sound and incorporation of ethnic music elements inspired these post-punk acts to challenge conventions and push the boundaries of their genre.

Additionally, Can's music served as a blueprint for ambient acts. "Future Days" (1973) is recognised as an early example of ambient music, with its peaceful yet dramatic soundscapes. This album, along with "Soon Over Babaluma" (1974), demonstrated Can's ability to create immersive, atmospheric music that would influence and shape the ambient genre.

Can's impact on rock music is also noteworthy. Their rhythmic style, influenced by North African music, Stockhausen, and American minimalists like Steve Reich and Terry Riley, added a unique flavour to the rock genre. Can's use of collective spontaneous composition and sampling in their live performances and studio work inspired rock artists to embrace improvisation and experimentation.

In conclusion, Can's music has had a lasting impact on rock, post-punk, and ambient acts. Their fusion of diverse musical styles, experimental approach to composition, and innovative use of technology inspired and shaped these genres, leaving an indelible mark on the music industry.

Can's founding members came from backgrounds in avant-garde music and jazz

Can, the German experimental rock band, was formed in Cologne in 1968 by Holger Czukay (bass), Irmin Schmidt (keyboard), Michael Karoli (guitar), and Jaki Liebezeit (drums). The founding members of Can came from backgrounds in avant-garde music and jazz. Czukay and Schmidt were students of the composer Karlheinz Stockhausen, and were fascinated by the possibilities of rock and roll. Liebezeit was a jazz drummer.

The band's first gig, a collage of rock music and tape samples, took place at Schloss Nörvenich (Castle Nörvenich, near Cologne). Their first studio, Inner Space, was established at the castle when American sculptor and vocalist Malcolm Mooney joined the band. Mooney's intuitive drive led the musicians toward a unique take on rock music. The band's debut album, Monster Movie (1969), was recorded at the castle.

Can blended elements of psychedelic rock, funk, and musique concrète on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973). They also had commercial success with singles such as "Spoon" (1971) and "I Want More" (1976). Their work has influenced rock, post-punk, and ambient acts.

Can's early rock influences included the Beatles, the Velvet Underground, Jimi Hendrix, Sly Stone, and Frank Zappa. The band has also cited North African music, Stockhausen, and American minimalists such as Steve Reich and Terry Riley as influences.

Can's music has been described as a blend of psychedelic rock, funk, and musique concrète

Can was 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 the American Malcolm Mooney (1968–70) and the Japanese Damo Suzuki (1970–73). Their music has been described as a blend of psychedelic rock, funk, and musique concrète.

Psychedelic rock is a music genre that is inspired, influenced, or representative of psychedelic culture, which is centred on perception-altering hallucinogenic drugs. The music incorporates 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.

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 de-emphasises 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.

Musique concrète is a form of electronic music that utilizes recorded sounds as raw material. It was developed in the 1940s and 1950s by French composer Pierre Schaeffer, who is credited with coining the term. The genre is characterized by the use of recorded sounds, often manipulated or modified in some way, to create a new composition.

Can's unique sound, influenced by their diverse backgrounds in avant-garde music and jazz, blended elements of psychedelic rock, funk, and musique concrète. Their influential albums, such as "Tago Mago" (1971), "Ege Bamyasi" (1972), and "Future Days" (1973), showcased their experimental approach to music-making.

Can's music often featured repetitive, rhythmic patterns influenced by North African music, Stockhausen, and American minimalists such as Steve Reich and Terry Riley. Their use of tape editing and sampling, along with their collective spontaneous composition style, set them apart from their contemporaries.

Their debut album, "Monster Movie" (1969), combined rock music and tape samples, setting the tone for their distinctive sound. "Tago Mago" (1971) is considered groundbreaking and influential, with intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard solos, tape edits, and Suzuki's unique vocal style. "Ege Bamyasi" (1972) featured their first chart success in Germany with the track "Spoon" and continued their experimental approach with ambient sounds and catchy melodies. "Future Days" (1973) is an early example of ambient music, showcasing the band's ability to create peaceful and dramatic soundscapes.

Can's music has influenced rock, post-punk, ambient acts, and major artists working in the post-punk genre, such as Siouxsie and the Banshees, the Fall, Public Image Ltd, and Joy Division. Their innovative blend of psychedelic rock, funk, and musique concrète has left a lasting impact on the music industry.

Frequently asked questions