VIA PRESS RELEASE | Mute and Spoon Records today share details of the second in a series of Can live album releases. Can Live in Brighton 1975 will be released December 3 on limited edition triple gold vinyl, double CD, and digital platforms. The vinyl and CD are packaged in a gatefold sleeve with accompanying booklet.
Sleeve notes for the release are written by Can biographer, author, and editor Rob Young and British journalist Kris Needs. The latter was involved in several live Can shows at the Friars club in Aylesbury, England between 1973-1977 and his description of one of these performances—“like a delirious astral roller coaster, launch-pad a distant speck within minutes as fleeting melodies, vocal lines or rhythms… loomed like iridescent ghosts then evaporated as the spirit took them somewhere else”—manifests throughout the recordings.
Can Live in Brighton 1975 is a new insight into Can’s unique live performance. On this particular release, which unfolds over seven sections, you’re invited to join their interstellar journey: from a rare and evocative Michael Karoli vocal on “Brighton 75 Drei,” to Jaki Liebezeit’s incredible drum lead emerging through a fog of audience noise to take centre stage on “Brighton 75 Vier,” before the final track lands us in an incredible “Vitamin C” jam for “Brighton 75 Sieben.”
MORE ON THE CAN LIVE SERIES | The Can Live series has taken the best of the bootlegged recordings and—overseen by founding member Irmin Schmidt and producer / engineer Rene Tinner—run them through the wringer of 21st century technology to bring you these vital historical documents in the best quality versions possible.
Founded in the late ‘60s and disbanded just over a decade later, Can’s unprecedented and bold marriage of hypnotic grooves and avant-garde instrumental textures has made them one of the most important and innovative of all time. These albums reveal a totally different perspective to the band. You may hear familiar themes, riffs and motifs popping up and rippling through these jams, but they are often fleetingly recognized faces in a swirling crowd.
At other points, you will hear music that didn’t make it into the official album canon. In these recordings, Can go to even more extreme ranges than with their studio work—from mellow, ambient drift-rock to the white-dwarf sonic-meltdown moments they used to nickname “Godzillas.” And even as they adapt and chase the rhythm from minute to minute, you can hear the extraordinary musical telepathy its members shared.
