Can 罐头
- 风格
- #实验摇滚 #德国前卫摇滚 #实验电子 #实验音乐 #迷幻摇滚
- 地区
- Germany 德国
艺人介绍
小简介
Can总是能够比同时代的流行音乐至少超前三步，他们是70年代先锋派摇滚乐队的领衔人物。从一开始，他们的音乐就跟任何一般人——甚至那些反传统的人所持的rock & roll观念不一样。他们的灵感来源更多是20世纪古典音乐而不是Chuck Berry，活跃年代和他们最接近的乐队有Frank Zappa，或者the Velvet Underground，不过相比而言，Can的音乐更严肃和难以亲近。Can并没有录制流行音乐或者讽刺小品，而是杂糅着噪音、电子合成器、非传统音乐、音响拼贴，以及最重要的电子音乐等技术；他们的每张专辑都是在别的摇滚乐队没有涉足过的领域探究，每一次都会比上一张迈出明显的一大步。
Can的成员并非固定，主唱先后有几个；他们的核心成员是键盘手Irmin Schmidt，鼓手Jaki Leibezeit，吉他手Michael Karoli，和贝司手Holger Czukay。在70年代，他们极端多产，在他们的创作高峰期，曾经一年就录制了三张专辑。除了1978年的《I Want More》奇迹的创造了英国排行榜前30的好成绩外，他们仅仅是一个cult乐队；评论界一度也很难给他们下定义。
Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the 70s. From their very beginning, their music didnt conform to any commonly held notions about rock & roll — not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands werent interested in exploring.
Throughout their career, Cans lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the 70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 — I Want More — they were never much more than a cult band; even critics had a hard time appreciating their music.
Can debuted in 1969 with the primitive, bracing Monster Movie, the only full-length effort to feature American-born vocalist Malcolm Mooney. 1970s Soundtracks, a collection of film music, introduced Japanese singer Kenji Damo Suzuki, and featured Mother Sky, one of the groups best-known compositions. With 1971s two-record set Tago Mago, Can hit their visionary stride, shedding the constraints of pop forms and structures to explore long improvisations, angular rhythms, and experimental textures.
1972s Ege Bamayasi refined the approach, and incorporated an increasingly jazz-like sensibility into the mix; Future Days, recorded the following year as Suzukis swan song, traveled even further afield into minimalist, almost ambient territory. With 1974s Soon Over Babaluma, Can returned to more complicated and abrasive ground, introducing dub rhythms as well as Karolis shrieking violin. 1976s Unlimited Edition and 1977s Saw Delight proved equally restless, and drew on a wide range of ethnic musics.
When the band split in 1978 following the success of the album Flow Motion and the hit I Want More, they left behind a body of work that has proven surprisingly groundbreaking; echoes of Cans music can be heard in Public Image Limited, the Fall, and Einstürzende Neubauten, among others. As with much aggressive and challenging experimental music, Cans music can be difficult to appreciate, yet their albums offer some of the best experimental rock ever recorded.
热门评论
- @Nam：Yes who can 这是我最喜欢的三个团 -------------- 为了凑个句子而已XD
- @neejun：Can的萌点就在于，能够一本正经地以一种前卫无比的方式演绎，同时又不断反复念叨着各种无厘头的歌词
- @冰棍：Krautrock雄起
- @好起来了：产于日本东京20世纪70年代末，发迹于20世纪90年代初的新迷幻噪音其实就是一种混合了60年代欧美迷幻摇滚与70年代德国ktautrock运动的高纯度摇滚毒药，再加上日本人特有的残酷美感与乐队主脑强大的个人精神输出，造就了一副神秘诡异又令人激动不已的音乐景象。
- @SweetTides：从可能的客观操作风格上，摇滚乐一早就把自己耗尽了。所谓一早，不是指10年前或20年前，而是40年前。西德Krautrock前卫摇滚运动代表Can未发表录音合辑“the Lost Tapes”近日出版，他们1978年解散，迄今一切摇滚乐的流派风格，无论端倪或要旨，竟尽在这三张CD中纤毫毕现。——杨波
最新简评（共268条）
- @ㅤ培养皿(作为报答、我吔给泥放点、...)：.
- @木鸡(～)：～
- @大喵(不要自我设限.....)：☑️☑️☑️
- @0(：（)：
- @朱理(zzzzz长时间嗑觉)：大爷爷，晚安
- @千島魚(Byebye)：Can的groove在几个泡菜团里都显得很独树一帜
- @下线了：
- @易长文(我的bandcamp号)：牛叉
- @✘(留白)：～
- @Geworfenheit(购买诗集《落日飞奔术》电...)：看