The Cologne Band Studio: Can It Be Done?

Can was a German experimental rock band formed in Cologne in 1968 by Holger Czukay, Irmin Schmidt, Michael Karoli, and Jaki Liebezeit. In December 1971, Can founded the Can Studio in a former cinema in Weilerswist, close to Cologne. All subsequent Can albums except Rite Time were produced in this studio. The band split in 1978 but has remained influential in underground rock and electronic music.

Can's first studio, Inner Space, was located in a castle near Cologne

The band's first studio was located in a castle called Schloss Nörvenich near Cologne. The band used the imposing stairwell as an echo chamber and recorded their first album, Monster Movie (1969), in the castle. The album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom: "Father Cannot Yell" and "Outside My Door".

The band's first gig, a collage of rock music and tape samples, also took place at Schloss Nörvenich. The show is documented on the audio cassette Prehistoric Future. At the time, the band was a nameless collective, but when American sculptor Malcolm Mooney visited and joined the band, they began to develop a unique take on rock music.

In 1971, the band founded their second studio, also called Inner Space, in a former cinema in Weilerswist, close to Cologne. All subsequent Can albums, except Rite Time, were produced at this studio. The Inner Space studio in Weilerswist had an unusual layout, with no separation between the control room and the live room. The sound was recorded in a dry room with little echo, which made it easier to change the recording signal using effects.

The band's debut album, Monster Movie, was recorded in this castle

The band Can's debut album, Monster Movie, was recorded in a 14th-century castle in Nörvenich, North Rhine-Westphalia, Germany. The band accepted an invitation from a friend to move into his castle, Schloss Nörvenich, and use it as a recording studio. The band's first gig took place at the castle, and the show is documented on the audio cassette Prehistoric Future.

The band used the imposing stairwell as an echo chamber, and the sound was mixed directly at the instrument amplifiers. Can recorded Monster Movie from 1968-1969, and it was released in August 1969. The album is credited to "The Can", a name suggested by vocalist Malcolm Mooney and adopted by democratic vote. Previously, the band had been known as "Inner Space", which later became the name of their recording studio.

Monster Movie brought together elements of psychedelic rock, blues, free jazz, and world music. The influence of the Velvet Underground is particularly obvious on the opening track "Father Cannot Yell". The use of improvisation, experimentation, tape editing, and layering of sounds set a standard for Can's subsequent albums in the early 1970s, which helped form the style labelled "krautrock" by the British music press. The 20-minute closing track, "Yoo Doo Right", was edited down from six hours of improvisation.

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

Can's music has had a profound and lasting influence on rock, post-punk, and ambient acts. The band's unique blend of psychedelic rock, funk, and musique concrète, combined with their experimental approach to recording and performance, has left an indelible mark on the musical landscape.

Can's early work, such as their debut album "Monster Movie" (1969), was characterised by a garage rock sound and repetitive, rhythmic style influenced by North African music and American minimalists like Steve Reich and Terry Riley. This provided a foundation for their subsequent explorations in ambient and electronic music.

Their double album "Tago Mago" (1971) is often cited as a groundbreaking and influential work. It combined intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard solos, tape edits, and idiosyncratic vocal styles. This album, along with Ege Bamyasi (1972) and Future Days (1973), showcased Can's ability to blend experimental and avant-garde elements with more accessible and ambient sounds.

Can's music and performance style have influenced numerous notable artists across different genres. In the late 1970s, they influenced post-punk acts such as Siouxsie and the Banshees, the Fall, Public Image Ltd, and Joy Division. British new wave acts of the 1980s, including Pete Shelley, Gary Numan, and Primal Scream, also recognised Can as an inspiration.

Can's impact can also be seen in the work of Radiohead, who cited them as an influence on their albums "Kid A" (2000) and "Amnesiac" (2001). Radiohead adopted Can's approach of constructing music through collective spontaneous composition and sampling. Additionally, Mark E. Smith of the Fall paid homage to Can vocalist Damo Suzuki with the track "I Am Damo Suzuki" on their 1985 album "This Nation's Saving Grace".

Can's influence extends beyond the realm of music. Their songs have been featured in films, such as Wim Wenders' "Until the End of the World," for which the band recorded a track. Additionally, Brian Eno created a short film as a tribute to Can, showcasing the band's impact on visual media.

Can's innovative use of technology and their experimental approach to music and performance continue to inspire and shape rock, post-punk, and ambient music, solidifying their legacy as pioneers and influencers in these genres.

Can's live shows often melded spontaneous improvisation with songs from their albums

Can's live performances were often a blend of spontaneous improvisation and songs from their albums. The German experimental rock band was formed in 1968 in Cologne, Germany, by Holger Czukay (bass), Irmin Schmidt (keyboard), Michael Karoli (guitar), and Jaki Liebezeit (drums). The founding members, rooted in avant-garde music and jazz, blended elements of psychedelic rock, funk, and musique concrète to create their unique sound.

Can's early performances featured American vocalist Malcolm Mooney, who was later replaced by Japanese singer Kenji "Damo" Suzuki in 1970. Mooney's live performances with the band were often shocking to audiences, with actor David Niven commenting that he "didn't know it was music." Suzuki's vocal style was very different from Mooney's, with a multilingual and inscrutable approach that claimed to be "the language of the Stone Age."

Can's live shows were known for their intense and hypnotic rhythm patterns, with the band members' collective spontaneous composition and improvisation skills taking centre stage. Their performances could last for hours, with their longest show in Berlin exceeding six hours. This resulted in a vast archive of live performances.

The band's early rock influences included the Beatles, the Velvet Underground, Jimi Hendrix, Sly Stone, and Frank Zappa. Their ethnic music influences, which were initially intended to be the foundation of their sound, were exemplified in albums such as "Ege Bamyasi" and "Future Days." Can's live performances were not just concerts but also "instant compositions," as described by Holger Czukay.

Can's double album "Tago Mago" (1971) is a testament to their improvisational style, with intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard solos, tape edits, and Suzuki's unique vocal style. The album is considered groundbreaking, influential, and deeply unconventional.

In addition to their improvisational prowess, Can also achieved commercial success with singles such as "Spoon" (1971) and "I Want More" (1976), which reached national singles charts. Their work has influenced various genres, including rock, post-punk, and ambient music. Can's live shows truly captured the essence of their innovative and experimental approach to music, leaving a lasting impact on the world of rock.

The band split in 1978 but has remained influential in underground rock and electronic music

The German experimental rock band Can formed in Cologne in 1968 and disbanded in 1978. The group's founding members were Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). They were influenced by avant-garde music and jazz and 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's music and approach to production continue to be influential in the genres of rock and electronic music. Their use of sampling, editing, and collective spontaneous composition has left a particular mark on underground music. Their recordings were often reused by band member Holger Czukay, who, after leaving the band in 1977, went on to record several ambient albums.

Can's studio in Weilerswist, near Cologne, was originally named Inner Space Studio and was first run by Holger Czukay. In 1973, it came under the management of René Tinner and was renamed the Can Studio in 1978. The studio has been preserved and is now an exhibit at the German Rock'n'Pop Museum in Gronau, near the Dutch border.

Can's influence can be seen in the work of major artists and groups across genres, including Radiohead, Kanye West, and LCD Soundsystem. They have been hailed as pioneers of German krautrock, and their music has been described as a "primal force" that was "tapped into" rather than written.

Frequently asked questions