Can - Future Days -1973- Remaster -2005- Flac -... [upd] Today
The centerpiece and closing epic, Bel Air is a 20-minute suite that critics have described as “Can’s most impressionistic song, with an almost painterly sense of blended colors and landscapes”. Bel Air progresses so slowly and subtly that the listener barely notices the shifts in harmony. It ends abruptly , cutting off exactly at the 20-minute mark as if waking from a dream. This track is the ultimate test for audio quality: the spaciousness of the keyboards, the tactile rustle of the percussion, and the depth of the low end (played on double bass) require a lossless format to be fully appreciated.
The atmospheric textures and long-form structures directly anticipated the work of artists like Brian Eno, Talk Talk, Bark Psychosis, and Sigur Rós.
This was the final album featuring vocalist , and his performance here is arguably his most integrated. Instead of acting as a traditional frontman, his voice functions as another instrument in the mix. His whispered, melodic delivery on tracks like "Moonshake" and the sprawling, 20-minute "Bel Air" feels like it's emerging directly from the instruments rather than sitting on top of them. The 2005 Remaster and FLAC Fidelity
Michael Karoli’s guitar lines no longer cut like glass; instead, they rippled across the mix like sunlight on water. Irmin Schmidt’s synthesizers and electric piano provided a lush, painterly backdrop, while Holger Czukay used the recording studio itself as an instrument, editing hours of collective improvisation into tightly wound, organic suites. CAN - Future Days -1973- Remaster -2005- FLAC -...
Spoon Records (CAN’s own label) and producer René Tinner undertook a meticulous remastering project in 2005. This is not a "loudness war" casualty. Instead, it is a sympathetic, archaeologically precise excavation of the original 1/4" analog master tapes.
Supervised by Holger Czukay and engineered by Andreas Torkler at Sonopress, the 2005 remaster was sourced directly from the original stereo master tapes and released as a hybrid SACD. For digital audiophiles, extracting this master into format became the gold standard for listening. The differences in the 2005 FLAC remaster are profound:
At the center of this shifting landscape was Damo Suzuki. On Future Days , his vocals retreated further into the texture of the music. Singing in a stream-of-consciousness blend of English, Japanese, and pure phonetic expression, Suzuki’s voice functioned not as a vehicle for narrative lyricism, but as an additional wind instrument, murmuring secrets from beneath the waves. Track-by-Track Breakdown 1. "Future Days" (9:30) The centerpiece and closing epic, Bel Air is
If you want , go for Ege Bamyasi (1972) . Share public link
In the summer of 1973, West German experimental rock pioneers Can decamped to an inner space of their own making. Recording in a converted cinema in Weilerswist near Cologne, the band—comprising keyboardist Irmin Schmidt, drummer Jaki Liebezeit, guitarist Michael Karoli, bassist Holger Czukay, and vocalist Damo Suzuki—created Future Days . It would stand as the final studio album featuring Suzuki, capping off a legendary trilogy of LPs that includes Tago Mago (1971) and Ege Bamyasi (1972).
offers several advantages for this specific album: This track is the ultimate test for audio
The musical composition on "Future Days" reflects CAN's adeptness at blending different styles. The album's sound is characterized by Holger Czukay's melodic bass lines, Irmin Schmidt's distinctive keyboards, and Jaki Liebezeit's percussive contributions, which together create a rich and textured musical landscape. The guitar work by Michael Karoli adds another layer of depth, completing the band's unique sonic signature.
Future Days is the sound of a band discovering . With Suzuki’s lyrics becoming sparse, cryptic mantras (in his invented “Gibberish” language), and the rhythm section of Jaki Liebezeit and Holger Czukay locking into a hypnotic, minimalist pulse, the album floats.