Mute and Spoon Records have announced plans to release a series of live albums by Can.
Live in Stuttgart 1975 is out May 28. In addition to digital and CD releases, a 3xLP set is being pressed to orange vinyl. Listen to an excerpt from the new album below.
The Can Live series of releases are culled from the group’s best bootleg recordings, which were remastered and engineered under the supervision of founding Can member Irmin Schmidt and producer/engineer Rene Tinner.
created in 1968, with holger czukay, jaki liebzeit, michael karoli, and this man, irmin schmidt, can was at the forefront of what was called inevitably the krautrock movement. combining the sounds and attitudes of classical, avant-garde, rock, and funk. so you moved here how old were you irmin: i moved here in 64. anthony: interesting time, 64. irmin: it was a very interesting time. it was the time of where cologne was really blossoming. it was the art town in germany. anthony: irmin studied with karl heinz stockhausen, but it was a trip to new york city where he was exposed to what lou reed and the similarly classically trained john cale were doing with the velvet underground that would prove to be the catalyst for can. 64 was still pretty early days for cultural ferment, i guess. irmin: not here. anthony: not here. irmin: not here. anthony: so the question is, why here? what was it about cologne?
created in 1964, with holger czukay, jaki liebzeit, michael karoli, and this man, irmin schmidt, can was at the forefront of what was called inevitably the krautrock movement. combining the sounds and attitudes of classical, avant-garde, rock, and funk. so you moved here how old were you irmin: i moved here in 64. anthony: interesting time, 64. irmin: it was a very interesting time. it was the time of where cologne was really blossoming. it was the art town in germany. anthony: irmin studied with karl heinz stockhausen, but it was a trip to new york city where he was exposed to what lou reed and the similarly classically trained john cale were doing with the velvet underground that would prove to be the catalyst for can. 64 was still pretty early days for cultural ferment, i guess. irmin: not here. anthony: not here. irmin: not here. anthony: so the question is, why here? what was it about cologne? irmin: well, i think it s
created in 1964, with holger czukay, jaki liebzeit, michael karoli, and this man, irmin schmidt, can was at the forefront of what was called inevitably the krautrock movement. combining the sounds and attitudes of classical, avant-garde, rock, and funk. so you moved here how old were you irmin: i moved here in 64. anthony: interesting time, 64. irmin: it was a very interesting time. it was the time of where cologne was really blossoming. it was the art town in germany. anthony: irmin studied with karl heinz stockhausen, but it was a trip to new york city where he was exposed to what lou reed and the similarly classically trained john cale were doing with the velvet underground that would prove to be the catalyst for can. 64 was still pretty early days for cultural ferment, i guess. irmin: not here. anthony: not here. irmin: not here. anthony: so the question is, why here?
anthony: if there s one musical movement or one band that represents cologne better than this one, i don t know what it could be. created in 1964, with holger czukay, jaki liebzeit, michael karoli, and this man, irmin schmidt, can was at the forefront of what was called inevitably the krautrock movement. combining the sounds and attitudes of classical, avant-garde, rock, and funk. so you moved here how old were you irmin: i moved here in 64. anthony: interesting time, 64. irmin: it was a very interesting time. it was the time of where cologne was really blossoming. it was the art town in germany. anthony: irmin studied with karl heinz stockhausen, but it was a trip to new york city where he was exposed to what lou reed and the similarly classically trained john cale were doing with the velvet