“Can‘s Tago Mago is the greatest album in the history of humankind. At least it was (for me) for a good chunk of 1986-87. Sounds that were so far ahead of their time even then (a decade and a half after its release) that normal folks are still trying to figure it all out. Hint: it’s applied magick, four Germans cranking out the avant-grooves and textures, Japanese singer cruising cosmically in and out of it all as only 1971 could allow. The Axis powers of WW2 reunited (sort of, Can never containing any Italians), but this time taking the right drugs, only concerned with conquering all of the world’s freak scenes. Which is as it should be.” (Philip Random)
“Are Can still the greatest band that most people have never heard? Probably. If you are perhaps one of those, Future Days (song and album) is as good an entry point as any, marking both the peak and the end of their glory days. Not that they didn’t still have some great music in them post 1973, it would just never get back to such a strange and etherea peak. Because singer, vocalist, lead madman Damo Suzuki was slowly fading away, not to return. Like a bittersweet dream of the future that actually came true, because there I was, a good ten or twelve years after the fact, hearing it for the first time myself, and it was perfect, it was exactly what the mid-80s felt like. Living in the future, ready or not.” (Philip Random)
It’s 1969 with the Euro hippie underground is in a state of serious flux and eruption in the wake of all the uprisings and insurrections of 1968. Nevertheless, Can (four German weirdoes and their American singer, poet, frontman who will soon go at least slightly mad) find a few moments to throw down a strange little ditty about the Upduff family and their troubled trip to Italy. WARNING: if your grandma dies while traveling in a region populated by well organized car theft rings, don’t wrap her up in a tarp and tie her to the top of the car.