Future Days [ORIGINAL RECORDING REISSUED]

Can

Product Details

• Audio CD (May 19, 1998)
• Original Release Date: 1973
• Number of Discs: 1
• Format: Original recording reissued
• Label: Mute U.S.
• ASIN: B0000067X2
• Also Available in: Audio CD  |  MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (32 customer reviews)
• Amazon.com Sales Rank: #212,739 in Music (See Bestsellers in Music)

Track Listings

1. Future Days

2. Spray

3. Moonshake

4. Bel Air

Customer Reviews

Most Helpful Customer Reviews

17 of 17 people found the following review helpful:

5.0 out of 5 stars A Revelation, January 30, 2004

By	Andres J. Restrepo (Stanford, CA United States) - See all my reviews (REAL NAME)

This album stands as the final and, in my opinion, greatest installment in the holy trinity of Can's Damo Suzuki albums. It's not that Ege Bamyasi and Tago Mago don't have moments of absolute transcendence. But neither of the two records can match the consistency of Future Days. The album is, in a word, perfect. Four tracks, and not a wasted instant. The mood of the record is considerably more hushed than either of its predecessors, with Irmin Schmidts gentle keyboard textures occupying more of a foregrounded presence. Yet the restrained sonic atmosphere only facilitates one's admiration for the band's tremendous talents, as each instrumentalist's contributions become all the more crucial and apparent. Suzuki's vocals are never more successful and melodically compelling than on this album, and, most of all, Jaki Leibezeit turns in one of the most subtle and commanding drum performances in the history of recorded music. I'd recommend this album to fans of Miles Davis' electric period (especially In a Silent Way, whose presence looms large throughout Future Days), as well as to fans of bands like Radiohead, Tortoise, and Stereolab who are curious about the aesthetic roots of contemporary experimental rock.

9 of 9 people found the following review helpful:

5.0 out of 5 stars The swan song, but what a song it is..., December 10, 2002

By	gone daddy gone - See all my reviews

Nothing Can ever does after this is essential, or in my opinion even good. But what they left behind, oh what a record. What a record. I won't talk much about the other tracks, if you don't know this record you have been sadly left out on some of the most beautiful music ever made, so I'll leave you some suprises for that first virgin listen. But I can't leave the keyboard without putting over "Bel Air" which at nearly 20 minutes in lenghth is everything Can was ever about at it's absolute finest. Damo never sounded so good, more soul in that japanese kid then Ray Charles, Jaki plays drums like the tribes who worship King Kong as a God in "godzilla vs King kong" while channeling Chopin and letting him show how he would have played drums, Karoli sounds like everything Robin Guthrie ever wanted to sound like, mixed with some Funk Brothers strumming, really his most sensitive playing, but also this MAD riff through a tape echo later that made Manuel Gottsching irrelevant (sad but true, Ashra never sounded this good my friends), Schmitt just blows everyone ever away with his organ playing here, his finest moment ever, and Holger, ah Holger plays one of the finest bass lines of all time, he just don't let up and starts strumming that Mustang bass and bending it almost out of tune but not quite. I've never heard anyone else play bass like this in my life. You can't make it through life without this record and call yourself "whole". Nothing else compares to this, it never grows old, never falters, never fails to amaze me even after all these years. One of my most treasured possesions.

8 of 8 people found the following review helpful:

5.0 out of 5 stars FUTURE DAYS CAN STILL INFLUENCE, March 24, 2001

By	Jon Noel Shelton (Lexington, KY) - See all my reviews

What a beautiful album. Of all Can albums, this is THE one to mellow out with. Often described as ambient( a couple of years before Brian Eno coined the phrase) FUTURE DAYS is a trip into territory other groups like Tangerine Dream and Kraftwerk would soon be traversing. On the surface there doesn't seem to be much happening. For this reason, headphones are essential gear for hearing the cosmic tension just below the album's deceptively smooth surface. The title track is like a soundtrack to a movie that plays out in your head. On "Spray" the band, including vocalist Damo Suzuki, seem to be freely improvising with future jazz ambience. It is simply impossible to know where the next note is coming from, even on repeat listenings. "Moonshake" shakes things up with it's quirky dance rythms, so unplug the headphones and hit the dancefloor. This is the one song on the album that you can play at a party and people will think it's a modern dance track. Why it hasn't been used in more movies and commercials is beyond me, because it has the power to cojure up so many visual ideas. "Bel Air" is pure bliss. It takes off as a meditation, tripping through it's own psychedellic innerspace before crashing and burning twenty minutes later. In a word: a trip. As for the album, a classic for future days and beyond.