Description
Can – Can – Compact Disc
Can – Can, released in 1979, is a self-titled album from the legendary German band Can, widely considered pioneers of krautrock—a genre that fused experimental rock, electronic music, minimalism, and improvisation. Often referred to by fans as “Inner Space” (after the studio where it was recorded), Can is a late-period release that reflects both the band’s evolving sound and their effort to reconnect with more structured, groove-oriented music after years of deep experimentation.
By the time of this album, Can had undergone several changes. Founding members Holger Czukay (bass/tape effects), Irmin Schmidt (keyboards), Jaki Liebezeit (drums), and Michael Karoli (guitar) were still present, but Czukay had shifted away from bass duties and more toward sonic manipulations and production. Vocalist Rosko Gee (formerly of Traffic) and percussionist Rebop Kwaku Baah were now part of the group, pushing the band in a funkier, jazzier direction.
Can (1979) is much more accessible than the band’s early masterpieces like Tago Mago or Ege Bamyasi. It trades in long-form psychedelic improvisation for tighter song structures, incorporating elements of funk, reggae, Afrobeat, and electronic pop, though still filtered through Can’s unmistakably off-kilter lens. Tracks like:
“All Gates Open” – a rhythmic, meditative opener with pulsing basslines and layered keyboards,
“Safe” – which leans into reggae-inflected grooves and looping mantras,
and “Sunday Jam” – a more free-form instrumental exploration,
showcase the band’s desire to explore groove and texture over pure experimentation.
Despite its more accessible sound, the album wasn’t a commercial breakthrough, nor did it reach the critical heights of their earlier work. However, it has gained a cult following over the years, particularly among listeners who appreciate Can’s mid- to late-’70s rhythmic sophistication and the way they adapted to new influences, including emerging world music trends and electronic production techniques.
Can is also notable as one of the last proper studio albums before the band went on a long hiatus and eventually disbanded in the early 1980s. It’s a transitional record—bridging their avant-garde roots with more conventional songcraft—and while it lacks the radical edge of their early work, it remains an intriguing document of a band constantly evolving, never content to repeat themselves.
If you’re new to Can, this album isn’t the best entry point (start with Future Days or Ege Bamyasi), but for deeper exploration, Can (1979) offers mature grooves, tight musicianship, and an underappreciated glimpse into where krautrock met funk, dub, and ambient sensibilities at the dawn of a new decade.
Brand new, never played and still sealed in the factory plastic
Track Listing
All Gates Open
Safe
Sunday Jam
Sodom
Aspectacle
EFS No.99 “Can Can”
Ping Pong
Can Be
