Title - 'Damo Suzuki & Jelly Planet'
Artist - Damo Suzuki & Jelly Planet
For those not in the know, Kenji Suzuki, better known as Damo Suzuki, is a Japanese musician who has been living in Germany since the early 1970s and is best known as the former lead singer of the German krautrock group Can.
As a teenager, Suzuki spent the late 1960s wandering around Europe, often busking. When Malcolm Mooney left Can after recording their first album Monster Movie, Holger Czukay and Jaki Liebezeit encountered Suzuki busking in Munich, Germany, whilst the two were sitting outside at a street café. They invited him to join the group, and he did, performing with them that evening.
Suzuki was with Can from 1970 to 1973, recording a number of well-regarded albums such as Tago Mago, Future Days and Ege Bamyasi. Suzuki's first vocal performance with Can was "Don't Turn the Light On, Leave Me Alone" from Soundtracks. His freeform, often improvised lyrics, were sung in no particular language.
He returned to music in 1983, and currently leads what is known as "Damo Suzuki's Network" – as he tours, he performs live improvisational music with various local musicians, so-called "Sound Carriers".
This brand new release, Damo Suzuki & Jelly Planet finds Damo performing a fully improvised set in studio with German experimentalists Jelly Planet. Incredible sonic quality and authentically mind-blowing explorations of the outer edges of space rock, each and every one of the tracks will have you mesmerized.
1. Wildschweinbraten (27:59)
2. Venushügel (34:51)
From the innovative vocalist of legendary Krautrock group, Can, comes this incredible album that combines all he is known for along with a stunning side step into the musical world of Jelly Planet. This CD/ digital / 2 LP set may well only have 2 tracks, but both are half-hour journeys into pure, unadulterated improvisational Krautrock territory.
For those unaccounted with Damo, what you get here is a variation of feedback drone combining perfectly with slow pulse movements, all lovingly wrapped within the confines of a motor beat and, at times, swooping modulators set to various distinctions.
As we head into the second of the tracks, this musical form is continued - for, if it ain't broke, don't fix it - but this time adds more deep bass patterns, synths, and even some legendary Damo vocal mumbles. Deep and low, at first, throughout the track they start to rise, to grown in front of our very ears, as the quirky guitars and dulcet grooves begin to take ahold.
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