Search - Holger Czukay, Rolf Dammers :: Canaxis

Holger at the Beginning

DAC Crowell | 01/26/2000

(5 out of 5 stars)

"Holger Czukay, at the time this record was done with Rolf Dammers, was just getting going in this weird band called Inner Space...but which would soon change its name to Can and become one of the more influential bands to come out of Germany. But at this time...1968...Holger was not too long out of his tutelage with Karlheinz Stockhausen, and the spirit that drove works of Stockhausen's such as 'Telemusik' and 'Hymnen' is in evidence on the two long pieces that make up the bulk of this release. Those looking for things more related to Can or poppier efforts of Holger's should seek elsewhere. But those who really want a fine excursion into the New Music side of Czukay-musik will find this release very intriguing...as well as anyone into New Music in general."

Stockhausen Students In Decent Album Shock

Larry L. Looney | 07/05/2003

(4 out of 5 stars)

"I've liked Can since I was fifteen, but I'd never got round to
hearing Holger Czukay/Rolf Dammers' "Canaxis" until this year. Oh dear..."Boat-Woman Song" is a poignant and lyrical piece enhanced by
the (to Western ears) strangeness and beauty of the "unknown"
Vietnamese women's voices. We have to remember that this was
recorded in 1968 during the Vietnam War and the plight of what
the Western media called "the Vietnamese Boat People."
It still sounds very fresh even though it's over thirty years
old. "Canaxis" leads into perfect ambient music for people
who don't go to bed until 4am. It reminds me of Arvo Part, but
it's far less faux-mediaeval.
Only the final track prevents it from being a five star album.
"Mellow Out" is pleasant enough, but images of the jazz show
host on The Fast Show invoke the only word I can think of
to describe it: "Nice.""

GROUNDBREAKING SOUND ASSEMBLAGE

Larry L. Looney | Austin, Texas USA | 02/13/2004

(5 out of 5 stars)

"This album - recorded in 1968 and released originally in 1969 - represents some of the first successful efforts in its genre. Czukay - bass player extraordinaire (and much, much more) for the seminal German progressive/experimental band Can - is credited here with `bass, tapes, editing, engineering'; Rolf Dammers as `co-producer, general support'. This is basically a solo work by Czukay, with valuable assistance from Dammers - and the results are stunning in their beauty, innovation and spirit.The opening track, `Boat-woman-song', is made up of loops centered around a field recording made in Viet Nam of two (unidentified) women singing what is most likely a traditional melody, unaccompanied. Over this, our two co-conspirators have layered loops of such sounds as a choir, orchestral instruments, Czukay's bass, keyboards, unidentified strummed stringed instruments, and more. With the women's voices as the focus, Czukay allows the rhythm of their song to carry the rest of the piece - everything else falls into place around and behind the singing. Rather than covering it up, the additions add to the mood and augment the atmosphere established by the plaintive voices. The piece goes through several changes in its 17½ minutes - but the mood never strays very far, and none of the changes comes across as forced.`Canaxis', the second track (19½ minutes) - side two of the original vinyl release - has more synthetic sounds within it than the first, but it is assembled with just as much care and imagination and sensitivity, and it never becomes harsh. Quietly noodling synths are eventually joined by voices and other instruments - the overall effect, like that of the first piece, is rather calming (not to be confused with boring, which neither of these pieces ever becomes).`Mellow out', the `bonus track' included on this cd release, was the first piece of music that Holger wrote that was performed for an audience - in this case, on German radio, in 1960. This performance, as stated in the notes, is `...straight from the broadcast...cut into vinyl by a small recording studio.' It's interesting on an historical level - but it's more in a straight-ahead jazz vein, and really doesn't fit with the other two pieces.Composers were piecing together dissimilar elements before Czukay recorded these pieces, of course - Stockhausen, for example - but this is one of the earliest attempts by someone known for working in a rock or jazz context to expand the compositional and creative process (and, ultimately, the mind of the listener as well) in this way. After 36 years, it holds up pretty well indeed - this is an enjoyable, stimulating recording."