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Future Days Original recording reissued


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Audio CD, Original recording reissued, May 19, 1998
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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
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (46 customer reviews)
  • Amazon Best Sellers Rank: #209,179 in Music (See Top 100 in Music)

1. Future Days
2. Spray
3. Moonshake
4. Bel Air

Editorial Reviews

Audio CD

Customer Reviews

4.9 out of 5 stars
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See all 46 customer reviews
Can's Future Days could very well be one of the greatest of Krautrock albums I have ever heard.
BENJAMIN MILER
'Future Days', the last Can album that featured the vocals of the maniacal Damo Suzuki, is easily the most subtle and quiet album they ever released.
Eraserhead
Not just the drums, but every instrument....guitars, bass, vocals, is used percussively to create evolving, angular jams.
JG

Most Helpful Customer Reviews

33 of 35 people found the following review helpful By Eraserhead on June 30, 2005
Format: Audio CD
'Future Days', the last Can album that featured the vocals of the maniacal Damo Suzuki, is easily the most subtle and quiet album they ever released. Damo even keeps his vocals down to a near whisper, instead of them being directly in the forefront like on previous albums. 'Future Days' is also the least experimental album of Can's career. Instead of interjecting the album with weird (and sometimes nauseating), avant garde noisescapes, they choose to par the album down to its bare minimum. There are only 4 tracks on 'Future Days' and the vocals are few and far between.

Side one contains 3 of these songs, including the beautiful title track, the haunting 'Spray', and the short, upbeat 'Moonshake' (the funkiest Can ever got). Side two contains one of the great mood peices in rock history, 'Bel Air'. This 20 minute song, which is divided into 3 distinct sections, touches on many genres, including ambient, which at the time didn't even exist.

These four tracks helped create the moodiest and most well rounded album in the Can catalog. Unfortuantely, Damo Suzuki decided to leave the band follwing this album to become a Jehovah's Witness (WTF?). 'Future Days' might not be as legendary as 'Ege Bamyasi', or as daring as 'Tago Mago', but it is certainly is in no way inferior to those albums. 'Future Days' is the final statement from a constantly evolving and consistently original band that continues to add to its legacy through re-issued records like this....for the sake of future days.
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19 of 19 people found the following review helpful By Andres J. Restrepo on January 30, 2004
Format: Audio CD
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.
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13 of 13 people found the following review helpful By gone daddy gone on December 10, 2002
Format: Audio CD
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.
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13 of 13 people found the following review helpful By Jeffrey J.Park VINE VOICE on July 11, 2005
Format: Audio CD
This 1973 release was the last recording with vocalist Damo Suzuki and along with Tago Mago (1971), and Ege Bamyasi (1972) saw the band at their creative and artistic peak. The four pieces on Future Days flow along smoothly and range in length from the 3'02" Moonshake to the epic, 20'00" Bel Air. The particular type of Krautrock practiced by Can is perfected on Future Days and is characterized by atmospheric keyboard and guitar parts atop hypnotic, percussive grooves churned out by the rhythm section. In fact, it is the creative drumming of Jaki Liebezeit and the pulsating, nearly monotonic bass work of Holger Czukay that really makes Future Days breathe and swing so freely. Vocalist Damo Suzuki is virtually absent on this recording and his avant-garde vocal style, which included screaming and ranting on the previous two recordings, has unfortunately been reduced to barely audible, melodic lines only. All in all, Future Days is an excellent place to start exploring this great band.
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