Tag Archives: Can

Tago Mago

February 2021 Marks 50 Years Since the Release of Tago Mago — One of Rock’s Greatest Masterpieces

As February 2021 approaches, music lovers worldwide prepare to celebrate the 50th anniversary of Tago Mago, the groundbreaking album by the German experimental rock band Can. Recorded in November 1970, Tago Mago emerged from a series of daring sessions that fused jazz, funk, avant-garde tape editing, and early sampling techniques into a singular, hypnotic soundscape.

Released in February 1971, this landmark record was the first to showcase the talents of vocalist Damo Suzuki, who stepped in after the departure of original singer Malcolm Mooney in 1970. Tago Mago remains a towering influence on progressive, psychedelic, and experimental music — a testament to Can’s fearless innovation and enduring impact on the rock canon.

A Bold New Chapter

Recorded in November 1970, Tago Mago was born out of a pivotal moment for Can. The band had just parted ways with Malcolm Mooney, their original frontman, whose manic energy defined their early work. Enter Damo Suzuki, whose ethereal, improvisational vocal style ushered in a radically new phase. His voice often feels less like singing and more like an instrument itself—sometimes hypnotic, sometimes primal—blurring boundaries between lyricism and pure sound.

Innovative Fusion of Styles

Tago Mago thrives on contradiction and contrast. It draws from jazz’s improvisational freedom, funk’s hypnotic grooves, and the avant-garde’s disruptive spirit. What sets it apart is Can’s pioneering use of tape editing and early sampling techniques—a bold approach that stitched together jam sessions into complex, unpredictable compositions.

Tracks like “Halleluhwah” unfold over 18 minutes of intricate polyrhythms, swirling textures, and repeated motifs, drawing listeners into a trance-like state. “Aumgn” ventures into eerie, otherworldly territory with its experimental soundscapes, while “Mushroom” offers a haunting, rhythmic pulse beneath Suzuki’s enigmatic vocals.

Legacy and Influence

Upon release in February 1971, Tago Mago baffled some but thrilled those open to new sonic frontiers. Its impact would ripple far beyond the Krautrock movement from which it emerged, influencing genres as varied as post-punk, ambient, electronica, and alternative rock.

Artists ranging from Radiohead to Sonic Youth have cited Can’s work as a touchstone. The album’s fusion of raw energy and meticulous studio craftsmanship opened new possibilities for what rock music could be—not just a set of songs but a journey, an immersive experience.

Why Tago Mago Still Matters

Half a century on, Tago Mago endures because it defies easy categorisation. It’s challenging and rewarding in equal measure, inviting repeated listens to uncover its layers. In an era of instant gratification, its sprawling, patient compositions demand attention and presence.

More than that, it stands as a testament to artistic courage—of a band willing to break their own rules, embrace imperfection, and trust in collective intuition. For listeners willing to take the plunge, Tago Mago remains an exhilarating, timeless masterpiece, a landmark in the ever-evolving landscape of rock.

Krautrock 1968-1979

Vee’s Krautrock Transmission: From the Middle of Nowhere, Straight to Your Ears

Somewhere in the dead centre of a wide open field, a lone telephone booth stands like an art installation that wandered out too far and forgot the way home. Inside, the mysterious Vee leans against the glass, the wind whistling in the receiver as she beams her latest Lost in a Wide Open Field broadcast across the ether.

This time, it’s over an hour of pure, undiluted Krautrock — 10 tracks that chart the genre’s hypnotic, head-expanding terrain. Some are well-trodden classics, others are ghosts from long-deleted pressings, the kind of vinyl that obsessive collectors chase with the tenacity of archaeologists hunting lost civilisations.

The crown jewel? A raw, improvised spark from Can, lifted straight from their legendary John Peel session in the 1970s — a performance that still feels like a live wire running through the decades. The rest of the set spans motorik rhythms, cosmic synth odysseys, and guitar lines that seem to dissolve into the stratosphere.

From her improbable command centre in the grasslands, Vee stitches together a soundtrack that’s equal parts archive dig and cosmic pilgrimage — proof that even in the most isolated places, the right signal can still find you.

Sea Change Festival

24/08/18 – 25/08/18 I have not been to Totnes for at least 30 years and to be honest I had no plans to revisit until being introduced to the Sea Change Festival by a good friend. There is little to recall from this last visit apart from faded memories of a pleasant and a quintessential quiet English country town. Totnes today seems a bubbling town with independent shops, eco-friendly shops, which include a very good veggie restaurant Willow, (87 High Street) definitely worth a visit and the excellent Drift Record Shop (103 High Street) amongst others.

This is the 3rd Sea Change Festival, and the convincing ingredient for my attendance is the regular presence of artists signed to the Erased Tapes label. Over the years artists from the label have increasingly featured in my music collection. This year the festival is effectively a two-site affair with the core of the business taking place within the town, while a larger stage (offshore) is located in a field at Dartington Hall approximately 1.6 miles apart. The line up is once again diverse, imaginary and offers excellent contrast, a full list of the artists can be found on the Sea Change Festival website, so here are my personal highlights and small grumble.

Hatis Noif

Hatis Noif is a vocal performer from Japan and now resides in London. A delicate and diverse mixture of avant-garde, classical Japanese music, operatic in styles with hints of Gregorian Chanting were perfectly framed in St. Mary’s Church. The programme proposed a beautiful ambiance atmosphere, and she did not fail to deliver. Gwenno (Saunders), in the civic hall, who is a sound artist, DJ and singer from Cardiff added some psychedelic power watts to the proceedings, along with the mysteries of songs performed in entirely Cornish. The Immix Ensemble Present: Kosmologie Ancience by Jane Weaver and Sam Wiehl, back to the St. Mary’s Church and you can’t keep a good cornet player down! A multi-disciplinary performance, which included voice, guitar, classical instruments and a visual trance-like, projected backdrop. Folk singer Shirley Collins gave a fascinating, heartfelt and often humorous talk about her life in music and how she traveled the word collecting songs before performing a number of songs from her recent album. Listening to these stories, but a totally different slant on the songs, as if you have been let into a hidden secret.

Those people (like me) who are long-time fans of the hugely influential German band Can were given good opportunity to bathe in our obsession on both days of the festival. Let’s start with Saturday, which provided the chance to listen in on a conversation with Rob Young, author of All Gates Open: The Story of Can. A meticulously researched piece of work. Back to Friday night and the 1.6-mile journey to the Offshore stage at Dartington Hall to catch Damo Suzuki (ex-lead singer of Can) supported by Japanise noise band, Bo Ningen leads to my only criticism of the weekend. Firstly, and I appreciate some people will wholeheartedly disagree with me here, but the performance had no heart and it just felt everybody was going through the motions. Secondly, I felt no cohesion between what was happening in the town centre and what was taking place at the Offshore stage. They seemed and felt like two entirely separate types of events, which in turn run the risk of one part dragging the other down. I voted for the intimacy of the town centre venues and did not return to the offshore site for the remainder of the festival, although there was a perfectly strong line up on offer. It’s a dilemma, which I am sure the organisers knew would be challenging and one that they will need to juggle in future years, but based on my experience at this year’s festival it’s not quite right. Setting these little grumbles aside, which you will find with all festivals, I would happily recommend this little gem of a festival.