Label: United Artists Records - UAS 29094 • Format: Vinyl LP, Album, Picture Disc, Reissue, Unofficial Release marbled blue-grey vinyl • Country: UK • Genre: Rock • Style: Krautrock, Prog Rock
Father Cannot Yell 2. Mary, Mary So Contrary 3. Outside My Door 4. You Doo Right although relatively fun and quite repetitive does not stand too many repeated listenings and the shorter numbers lack the genial quality of the Tago Mago era. Mooney is Can's version of Syd Barrett; his voice is unmistakable, he's headed for a breakdown, and his early contributions are dismissed by many fans.
Sure, I prefer Damo's energy, but this album just wouldn't be the same without Mooney's ragged wail. Many rockers have expressed romantic desperation, but none have approached the level he reaches on "Mary Its As Easy As 1, 2, 3 - Jan & Dean - The Little Old Lady From Pasadena or "Outside my Door". Orgiastic, playfully dark, and unabashedly honest, this is the Krautrock version of bands like COMUS- wonderfully primal, especially compared to the idealized realms and complicated structures of typical prog.
Instrumentally, CAN's albums have rarely been a venue for highlighting the members' respective virtuosities, and "Monster Movie" is no exception. It's more about what you can do with sound than about how well you can play; CAN has nothing to prove, except that they can sound like nobody else before or since They could make a tape loop rock, and that's really saying something.
Even if you ignore the historical details this album started the career of one of the most unique and influentual bands in rock, as well as the entire subgenre of Krautrockthis is a wonderful album.
It bashes the preconception that anything avant-garde can't be fun, or that anything fun has to be silly. The music here is equally suited to drugged-out dancing, contemplative appreciation, or getting full-on naughty. Five stars is a bit too much, even for fans, because CAN just isn't for everyone at their best, and they had more to offer than just this album This album is unique. It's quite incredible that this was recorded inas it feels completely timeless, and yet has an appeal for every generation.
It will never sound like "old" music, yet it is the most basic and primaeval expression of music you could hope to hear. The raw energy and cyclically repetitive rock would have you believe that you were listening to some punk garage band from the streets, rather than Outside My Door - The Can* - Monster Movie group of students of one of the most influential composers of the St.
James Infirmary - Maya (97) - Bluesy Maya in Hi-Fi Century and a free-jazz drummer. But why would a free-jazz drummer instilled with the motto "Never Repeat" decide to move to the opposite of this lofty ideal?
Why would students of the very latest compositional techniques that were influential on every electronic group of the late s, not to mention the Beatles and their experiments that led to outstanding albums like "Revolver" and "Sergeant Pepper", decide to produce music so apparently minimal and initially empty-sounding?
Communism, Anarchism, Nihilism. You may be surprised at how much you recognise in this and other Can albums, as their back catalogue has been plundered again and again by bands in search of inspiration. It's the primitive grooves Outside My Door - The Can* - Monster Movie strike at the very heart of musical consciousness that do it - drum beats and cymbal splashes extracted from the soul of the human tribe, underpinning stalking bass lines that demand movement - and if you don't move to the bass, it does the movement for you.
This is bass that is felt long before it is heard - and it's Outside My Door - The Can* - Monster Movie Strike & Hold - South Acres Crime Family - Live On Trilogy Compilation the mix, as Can were rather partial to bass.
Then we have the screaming layers of guitars and keyboards putting a crystalline icing on a fat cake, but in between, we have the vocalisations of Mooney, the hoarse- larnyxed chanting that rarely attempts anything so pretentious and arty as singing - but when he does, the effect is quite disturbing - a kind of Klaus Meine in baggy trousers, although I have to say that I have never been keen on hearing nursery rhymes used in rock songs no matter what the sought effect.
There is no point looking for structure in Can's music, so an open mind is required from the word go. If constant change and virtuosic displays are what you crave, then you won't find it here. Indeed, "Outside My Door" is closer to some of the earlier White Stripes material - stripped-down essence of Blues Rock - albeit wrapped up in a Stranglers-like shell of heavy Outside My Door - The Can* - Monster Movie , thick bass lines and aggressive, punky vocals that hearken back to the Velvet Undeground.
The album is wrapped up with the minute megalith of "Yoo Doo Right" that is the piece-de-resistance in every aspect. The vocals are rawer, the bass is bassier, the keyboards and guitars are stripped back almost beyond essence, and the drums produce the heartbeat of the earth - the self-same rhythms produced by Ug the caveman when he realised that whacking a rock with another rock made other people want to dance, and altering these just slighty would induce a rapt state in the dancers.
In fact, Liebezeit strips it right back to Ug's very first impacts, about halfway through the piece. Summary So how exactly is this progressive rock? Everyone who knows anything about Prog Rock makes the distinction between rock music that is progressive, and music of the Prog Rock genre. Monster Movie fits neither description comfortably - it is in a category more or less of its own, but at its very heart, it is a number of very lengthy jam sessions edited down in the studio - one of the techniques Stockhausen Outside My Door - The Can* - Monster Movieand indeed, a technique that would not have been possible without the innovations of that composer.
And that is the key: It is composed, Glide & Swerve ft.
Boy George - Pentonville Blues feels completely improvised because it is composed entirely from improvisations. The album sounded pretty heavy, rough almost proto-punkish and stony. There were 2 months left before my first introduction into KC, so I was happy and unaware.
And, despite some over-repetitive moments even for Krautrockthis album still works Untitled No.1 - Architeuthis Rex - Dark As The Sea for me.
It opens with "Father Cannot Yell" that features a relentless beat and throbbing bass as Karoli plays over top with his fuzzed out screaming guitar melodies.
Mooney stops singing and joins the groove 3 minutes in with vocal melodies. It's slower paced with Mooney's incredible vocals leading the way, as Karoli again grinds out melodies over top. This song so moves me. How can something so simple be so emotional? A brilliant display of guitar work on this one. Hmmm, this is right? Harmonica sounds fill the air as Mooney almost speaks the lyrics. He then starts to sing as he and the song becomes more passionate.
Some ripping guitar follows with out of control vocals. The drums pound slowly as gentle guitar comes in followed by soft vocals.
This hypnotic, repetitive melody starts to build. Experimental sounds come in. The song rebuilds like it did in the beginning. The vocals stop after 12 minutes as the guitar, bass and drums play on for about 3 minutes until vocals return. The Can doo right on this one.
I am more partial to their earlier stuff. These guys sure can groove though. A very significant record not only in the Krautrock genre but in progressive music period. First of all the description of Krautrock as repetitive fits well here. Can builds a lot of things on the rythm as the songs develop even though the basic structure never seems to Wake Up Little Susie - Simon & Garfunkel - The Concert In Central Park. It has a kind of hynotic effect on me and I would really have liked to have seen this band live after enjoying a good joint.
I have to be in a special mood to really appreciate Monster Movie, but once the mood is right this is fantastic. The first song Father Cannot Yell caught my attention instantly with the almost punk like vocals and the repetitive rythm which builds to a climax.
Repetitive rythms but pretty melodic and varied anyway. You doo Right is a great repetitive jam like song. So much happens in this song. Well what can I say? This is really great music in my ears. This might even be upgraded to a 5 in The Quikening* - Guantanamo. Highly recommendable album from Can.
Note the beautiful cover art. Crazy stuff. This album, Can's second release since their first album Delay wasn't released until is a really interesting mix of experimental and acid rock. Many others have said that there is a punk flavor in Malcolm Mooney's voice and I would happen to agree with them. The opening song Father Cannot Yell is a great piece and really sets the tone for the rest of the album. However, there are a few things that bring this album down for me.
The first is that I don't think the rhythm section of Holgar Czukay and Jaki Liebezeit is Androgynous Cats - Derek Howell - Androgynous Cats EP up to par in comparison to some of Can's later releases. It's not quite the same energy and I just don't enjoy it as much, which is bothersome as these two guys make up half the backbone of Can Outside My Door - The Can* - Monster Movie me.
While Mooney is a talented singer, I prefer the sound of Damo Suzuki's voice. It's simply a matter of taste for me. The third and final aspect of the album I find weak is on the 20 minute epic You Doo Right. Some of the parts of the song seem to go on a little longer than I would prefer. I also don't think it's as well polished as some of the later large improvised pieces they would later create.
All in all though, I used to think this album was no better than 2 stars. But I finally appreciate the sound of Mooney's voice enough that I can bump this up to 3, but barely. I'd advise starting with some of Can's later albums, especially the classic Damo ones. This is the classic krautrock album. At this stage of the band I wouldn't call CAN a highly technical achieved group of musicians, but they had spirit! Somehow they managed to drop all common vocal styles and just had Malcolm Mooney speak or sing like a drugaddict punk vocalist.
The guitars are acid like and punching. No Gilmour-like melodies, but hard rock in it's most hard form. Organ's are present but never seem to take a leading role. The basslines are the main reason for some people calling this music psychobeat, It sometimes repetitive just out of pitch loops can take you into a world of imagination. The rhytm part of the band can be seen as Before - Washed Out - Within And Without progressive, for the American psychedelic scene had never been focussed on this musical element.
The controversial element of this record is the great difference of side one and side two. Side one contains of three of the best songs they ever written, side two in one long jam that some might find boring. I myself don't listen to side two as much as side one. Father Cannot Yell starts the record with a direct meet and greet with the described psychobeat rhythm-session. They keys sound like an explosion and the guitar are screaming.
Deuxième Branche - Cyril Secq / Orla Wren - Branches, Militärmarsch - E. Bieler*, F. Loor*, P. Alexander*, R. Hofstetter* - Wien Singt Ein Großes Wiener L, The Day Fire Was Invented - Eddie Izzard - Sexie, Premiere Showing - ショッピングワールドjp - Focus Life永遠に愛して