The
follow-up to Tago Mago is only lesser in terms of being shorter;
otherwise the Can collective delivers its expected musical recombination
act with the usual power and ability. Liebezeit, at once minimalist and
utterly funky, provides another base of key beat action for everyone to
go off on -- from the buried, lengthy solos by Karoli on "Pinch" to the
rhythm box/keyboard action on "Spoon." The latter song, which closes
the album, is particularly fine, its sound hinting at an influence on
everything from early Ultravox songs like "Hiroshima Mon Amour" to the
hollower rhythms on many of Gary Numan's first efforts. Liebezeit and
Czukay's groove on "One More Night," calling to mind a particularly cool
nightclub at the end of the evening, shows that Stereolab didn't just
take the brain-melting crunch side of Can as inspiration. The longest
track, "Soup," lets the band take off on another one of its trademark
lengthy rhythm explorations, though not without some tweaks to the
expected sound. About four minutes in, nearly everything drops away,
with Schmidt and Liebezeit doing the most prominent work; after that, it
shifts into some wonderfully grating and crumbling keyboards combined
with Suzuki's strange pronouncements, before ending with a series of
random interjections from all the members. Playfulness abounds as much
as skill: Slide whistles trade off with Suzuki on "Pinch"; squiggly
keyboards end "Vitamin C"; and rollicking guitar highlights "I'm So
Green." The underrated and equally intriguing sense of drift that the
band brings to its recordings continues as always. "Sing Swan Song" is
particularly fine, a gentle float with Schmidt's keyboards and Czukay's
bass taking the fore to support Suzuki's sing-song vocal. by Ned Raggett
Holger Czukay - bass, engineer
https://nitro.download/view/FC8F45A88F55F87/Can_-_Ege_Bamyasi_(1972-2005
ResponderExcluir_PCD-22204).rar