Tago Mago

Few albums leave listeners in such a state of shock quite like "Tago Mago," by German band Can. The whole album was recorded in a castle, if that gives any idea of the album's mythical reputation. Can technically fits into the label of experimental rock, as it primarily features drums, vocals, guitars, bass, and keyboards. "Tago Mago" has roots in funk, jazz, and psychedelica. However, these connections do little to describe the album's sound. It is dark, unpredictable, and sometimes downright terrifying. For every funky groove, there is an erratic overflow of cacophony. While this album is certainly not accessible to a mainstream audience, it has served as an undeniable influence upon many musicians since its release. Radiohead has even claimed Can to be one of their biggest influences.

"Paperhouse" sounds almost like Radiohead if they existed in the early '70s. Its peaks and troughs keep its many sections unpredictable. "Mushroom" features one of the coolest beats, perhaps ever. The drums have an eerie sound and Suzuki's vocals give the song its haunted feeling. The sharp, droning keyboards also add to the fright of this song. "Oh Yeah" is a cool early example of ambient music being used in rock settings. The groove is repetitive and infectious. "Halleluwah" is a funk epic with several bizarre little interludes. "Aumgn" and "Peking O" turn the album on its head. They border on formless use of a number of textures to terrifying dissonant effect, only occasionally feeling cohesive. "Bring Me Coffee or Tea" is an Eastern tinged groove that closes this dark album on a relatively upbeat note.

Can is not afraid of being weird. This is perhaps the scariest album I have ever heard. And yet, it has moments that are surprisingly funky and accessible. Mostly though, it is experimentation at its most uninhibited. Not for the faint of heart.