+ ￥350 配送料
+ ￥350 配送料
Future Days CD, オリジナルレコーディングのリマスター, インポート
Standard CD issue of this digitally remastered edition of the Krautrock band's 1973 album. This is the last album to feature Japanese vocalist Damo Suzuki. On Future Days, the band employs more of an ambient sound than on their previous efforts, especially on the title track and the twenty minute "Bel Air". A stunning album. Mute. 2008.
Anyone.................who has influenced from PIL to Radiohead and all those you can read about elsewhere must be saying something worth finding out about. We are a much better world for them having gifted all of this to us.
I have owned the original 1973 United Artists vinyl version of this for a long time, which is one of the best sounding recordings I own. This was the first SACD I ever purchased and I wasn't expecting much, as most digital formats I've heard sound lacklustre and flat compared with vinyl, but I'm very impressed with this particular SACD. I wouldn't say it's better or worse than the vinyl, just different. You can clearly hear all the individual sounds spread out in a vast, open, 3D soundstage and it can be cranked up really loud without any hint of the edginess or harshness that you often get with standard CDs. It sounds very natural and good, especially the quality of the drum sounds.
Consequently, I decided to buy SACD versions of Ege Bamyasi and Flow Motion, but they don't sound quite as good to me. Flow Motion sounds too sharp and piercing for my ears and Ege Bamyasi is an improvement over the CD version, but still sounds a bit flat. The vinyl sounds much nicer.
If you already own the CD and you have a SACD player, I can highly recommend Future Days in SACD format, because it sounds far superior to the CD. If you already own the vinyl I can also recommend it, because both versions have their benefits.
'Future Days' is notable as it was the final album from the Czukay-Karoli-Liebezeit-Schmidt-Suzuki line-up - the band operating at a peak after the wild-exploration of 'Tago Mago' and its funkier follow-up 'Ege Bamyasi.' This trilogy of Damo-era Can is one of those up there with other such great trilogies - Bowie's 'Station to Station', 'Low' & "Heroes"; Roxy Music's 'Roxy Music', 'For Your Pleasure' & 'Stranded'; The Cure's 'Seventeen Seconds', 'Faith' & 'Pornography'; Associates' 'The Affectionate Punch', 'Fourth Drawer Down' & 'Sulk' and Talking Heads' 'More Songs About Buildings and Food', 'Fear of Music' & 'Remain in Light.' It certainly influenced several of those titles - notably 'Fear of Music' and Bowie post-European canon towards his peak of 'Low' & "Heroes" (and the surrounding 'All Saints' and 'Lodger' releases - songs like 'Red Sails', 'The Secret Life of Arabia' and 'Art Decade' could be argued to come from- Bowie picked it as one of his all time favourite albums a few years ago). Several albums appear to be influenced by it to a degree - Cabaret Voltaire's 'Red Mecca' (electronic rhythms colliding with the ambient and potentially going anywhere), David Sylvian's more experimental work (some with Holger Czukay), Eno/Byrne's 'My Life in the Bush of Ghosts', Associates-tracks like 'Fearless (It Takes a Full Moon)', 'Kissed' & 'Logan Time', Simple Minds' 'Sister Feelings Call'/'Sons & Fascination'-set ('Careful in Career', 'In Trance as Mission'- though 'Theme for Great Cities' is more Faust) and the wilder-Eno/Talking Heads moments - 'Houses in Motion', 'The Overload', 'Drugs', & 'I Zimbra.'Talk Talk's Mark Hollis has also nodded to this era of Can and you can see the ambient-jazz motifs of 'Spirit of Eden' and 'Laughing Stock' in this album and its immediate predecessors. Added to that, a band named themselves after the track 'Moonshake' here!
Just four tracks, but four is enough- Damo Suzuki sounding like he's in another world, and spinning off into other galaxies over the seemingly infinite soundtracks of the band (who would continue this standard onto the non-Damo follow-up 'Soon Over Babaluma' - another key ambient album). The ethos of Can was to jam and edit back those tapes - creating wild head music - you won't be concerned about the number of tracks/album duration anyway: JUST HIT REPEAT...
The title track opens proceedings, a flux of drones predicting 'Kid A' and all that, before a rhythm comes in and some severely subtle bass from Czukay amid the sounds of water. The band sounds palatial and utterly at the height of their powers; 'Spray' follows next and is more of an ambient-jam with elements not far from Miles Davis circa-'Get Up With It' (the connection is Stockhausen). The tempo shifts to the perfect-funk-pop of 'Moonshake', which follows on from such greats as 'I'm So Green' and German-number One 'Spoon'. Finally, the album closes on the epic 'Bel Air' - just under twenty-minutes of ambient-voyage that makes you think of records like 'Closer' and 'Low' and 'Fear of Music' and 'Systems of Romance' and 'Real to Real Cacophony' and 'Secondhand Daylight' and 'Cobra Phases...' along the way...
'Future Days' is a great Can-album and a great reissue, sounding like summer-in-space - neon clusters, imploding star-systems and no hayfever. Anyone wondering where Bowie was coming from in his Berlin-years should be directed here, and to certain records by Cluster, Faust and Neu! of course. The music here is utterly timeless and wipes the floor with most; as much as I like the albums prior to this one, I think 'Future Days' is the one and would make my top ten list of greatest ever albums alongside 'Sulk', 'Rock Bottom', 'Tilt', 'Trout Mask Replica', 'Pacific Ocean Blue', 'Forever Changes', 'There's a Riot Goin' On', 'The Marble Index' and 'New Gold Dream' which make up my top ten for today! 'Future Days' even allows you to use that cliched-maxim: "SEMINAL, MAN!!!!!"