Archives for posts with tag: Can

Former Dirty Projectors bassist Angel Deradoorian has been operating as a solo artist since 2013, releasing her first solo album “The Expanding Flower Planet” in 2015. “Find the Sun” is an intriguing new album, released a month ago. Here’s the hypnotic locked-groove motorik exploration of “Corsican Shores”:

“Corsican Shores” has the feel of a hypnotic Can groove from Tago Mago, the understated vocals of Young Marble Giants and the esoteric melodicism and otherness of early Stereolab.

There’s a refreshing organic minimalism and simplicity to the album. Three musicians – Angel Deradoorian (vocals, guitar, synth, flute), drummer/ percussionist Samer Ghadry, and bassist Dave Harrington – have created songs that sound fresh, mysterious, and with space for the music to breathe.

It’s the ethos of keeping things simple that makes this Deroodian album sound like nothing much else, while also throwing occasional reminders of the above-mentioned Can, whose experimental Ethnological Forgery Series mode is an additional reference point (ie: “The Illuminator”, a lengthy drum & flute & electronic sound piece, which also evokes the spirit of Sun Ra for good measure).

There are also moments of transcendent kosmiche-folk (“Monk’s Robes”, “Mask of Yesterday”), high-flying psychedelic folk-rock (“It Was Me”), minimal lounge jazz-funk (“Devil’s Market”), and all manner of individualistic goodness in between, often layered with Deradoorian’s mesmerising vocal incantations.

For something crafted by a trio from such simple and under-stated ingredients, the album is a rich exploration of sounds, and a deep dive into the infinite cosmos of Deradoorian’s imagination.

Holger Czukay

Holger Czukay was a founding member of German experimental rock band Can. In addition to playing those hypnotic motorik bass grooves, Czukay was the recording engineer for Can, and an early adopter of ‘sampled’ collage sounds, recorded to tape from shortwave radio broadcasts and other sources, edited and manipulated by hand in those pre-digital days, woven into the music assembled by Czukay from hours of improvised music creation.

Beyond Can Czukay recorded several ‘solo’ albums – often in conjunction with Can human drum machine Jaki Liebezeit – and collaborations with other musicians. One of those collaborations was with David Sylvian, producing two albums “Plight & Premonition” (1988) and “Flux + Mutability” (1989). These albums were recently re-issued on a double LP on the Grönland label. Sadly there’s no Bandcamp presence for the label, BUT, searching for Holger Czukay on Bandcamp did turn up this fine Claremont Editions compilation called “Claremont 56 versions 2009-2017” from which “In Space” here is taken:

“In Space” was released on a Claremont 12″ single in 2011. It’s close in spirit to the music on the two album collaboration with Sylvian, a morphing dream-state ambient soundscape, built upon layers of looped percussion, and punctuated by crystaline guitar melodies, and the random ghostly smudges of sampled sounds.

Czukay died in September 2017 aged 79 in Weilerswist (near Köln) in Germany.  It’s still relatively easy to track down the Can catalogue, but a bit more work is required to track down the solo recordings and collaborations should you wish to explore the music of this avant-garde, ambient, experimental music innovator further.


Today’s Psychedelic Sunday offering comes from London jazz-adjacent psychedelic underground ensemble The Heliocentrics. “Burning Wooden Ships” is from their just-released new album “Infinity of Now”. It’s their 10th album, and 2nd to feature vocalist Barbora Patkova:

I wasn’t familiar with The Heliocentrics until I heard them playing on the store sound system in Relics record store in Dunedin this weekend. “Burning Wooden Ships” here sets out their stall, so to speak. It combines a wide range of analogue instruments, sounds and tones along with the interstellar overdrive of Kosmiche musik psychedelic space-rock, all assembled upon the foundation of some of the finest motorik locked drum grooves I’ve heard since Can’s Jaki Liebezeit human-drum-machine burned itself into my conscious decades ago. 

The Heliocentrics approach is explained far better on their Bandcamp page so I’ll use their own words:

“The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. 

They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.”  The Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences – Latin, African, and more.”

And yes, this is all as great and as weird and as wonderful as that explanation suggests it will be. Recommended for fans of Can, Broadcast, Jane Weaver, Sun Ra, and Fela Kuti.

Kikagaku MoyoKikagaku Moyo are a psych-rock band from Japan and their new album – “House in the Long Grass”, which is out in a few weeks – is mind-expanding and wonderful.

This particular song “Kogarashi” has a spiritual and meditational feel. It’s almost like some devotional European folk but, as you’ll discover with each song, it manages to evoke a sense of familiarity without actually sounding ‘like’ anything in particular you know.

I was so impressed by just this one song I ordered the LP from Japan before I even listened to another track. It’s an affordable investment too, working out at about $30 NZD for the black vinyl edition plus $10 NZD postage.

Just one song is not enough to give you a sense of the wonder of this album though, as each song captures a distinctive mood. The opening track on the album – “Green Sugar” – is another different but also brilliant slice of dreamy delicious psych adventure, bursting with the spirit of Can circa their Ege Bamyasi album.

There’s a huge range of music on the album judging from the 4 tracks available to stream (or download upon your pre-order purchase). For example, the 10 minute epic “Silver Owl” is a monster of shifting psych morphing through several ‘movements’ from gentle opening to impressive heavy-psych-prog-metal guitar fury ending.

This is the third album from Kikagaku Moyo and they have also released a few EPs and singles, so there’s an exciting back catalogue awaiting discovery too.