SACRILEGE

Ok, it's going to be hard to defend why on earth I have given this 4 stars. I haven't even given that to much Can albums. But one doesn't get too many chances to review a techno album on PA so I thought I'd go for the opportunity, especially when it's contains so much goodies like this one.

First of all, this whole album has got nothing to do with the original Can songs in the track list. So if you though 'remix' meant a bit of equalizing left and right then you have entirely wrong expectations. This album is called 'sacrilege' and there is a good reason why. You will hardly recognize any your favourite Can tunes. Few of the remixes use actual melodies or rhythms from the Can songs, the only thing that is vaguely recognizable is some of the sounds used.

This tribute is nevertheless soaked with the real Can adagio: first take everything apart and then construct an entirely new thing from the remaining carcass. While not all pieces work, most do. The dynamic rhythms and richly textured Can samples seem to be perfect material for a fine album in the typical 90-ties alternative techno styles.

A couple of samples.

Pnoom, by Eno. He thought there was little for him to improve on the original Can songs so he chose this little ditty. While there is some truth in what he says, he had better stayed away from this project altogether as he clearly didn't get the idea of the sacrilege idea. His Pnoom is exactly like the original.

Spoon, by Sonic Youth. This song sounds as if it was written for them of course. They stick to the original but add some of their typical guitar textures in the second half.

Tango Whiskeyman, by a Guy Called Gerald. A great remix this one, pure drum & bass techno all the way with some sampled parts of Can's original song. It makes for a chillingly claustrophobic and restless atmosphere.

Vitamin C, by U.N.K.L.E. This one uses the original Can-beat but brings it more to the front and greatly improved the sound.

Future Days, by Carl Craig. A dub groove dominates this one. Lush synths and hazy vocals whispering "Future Days" turn it into almost catchy tune. An improvement over the original.

Father Cannot Yell, by Pete Shelley (yes that guy from the Buzzcocks). Pure drum & bass techno again with nothing reminding me of the original song but this remix is simply ominous. One of the best things I've ever heard in the genre, very dynamic and heavy. Deep trance alert!

Yoo Doo Right, 3P mix. Charming little remix, it got a trip-hop beat and a layer of strings for accompaniment. With Malcolm Mooney's sampled vocals on top, it's almost become a pop song, not dissimilar from early No-man stuff. Great tune.

Flow Motion, by Air Liquide. Another one which bears no trace of the original but with a fittingly funky-industrial kind of beat. The samples used from the song add to the alienating industrial feel.

Oh Yeah, by Kris Needs. A bit of a lengthy dub mix here but still with a nice gloomy mood and a groovy pace.

This album stands as a fine example how experimental rock can transform into something entirely the opposite: a dance album, and one very much to my liking. I wouldn't recommended it to Can fans though, this album is rather meant to introduce fans of the featured artists to the strange world of Can. And it worked for me! Been a Can-fan ever since.