August 13, 1998
If James Brown's band were a bunch of angsty Germans who hung out with electronic classical avant-garde composer Stockhausen and performed Velvet Underground and Kraftwerk jams, they might have sounded a little something like Can. At least on this album - Can was (and is) a relentlessly experimental band, and their albums range from the bizarre amalgam mentioned above to ambient noise to trance jazz. Not all of their experiments worked, but most were greatly influential, particularly now as electronics weasel their way into every aspect of popular music. Tago Mago is one of their best.
While wildly radical when released, the proliferation and acceptance of bands like Stereolab, Kraftwerk and PiL make this double album slightly more accessible. But only slightly - the second half in particular is wacky beyond belief, especially on the lengthy, self-indulgent ambient "Aumgn", and the breakneck electronic beats and nonsense vocals of "Peking O" will likely annoy most listeners (except for Captain Beefheart fans, who will laugh their asses off.)
It's the first half that shines. With a compelling backbeat, phasing tape manipulations and industrial psychedelic guitar, "Paperhouse" is intense. Damo Suzuki's vocals push the music over the top with a sensuous, exciting blend of whispered or shouted lines in German, English, French or raw syllables. All eighteen minutes of "Halleluhwah" are funkier than any Krauts have a right to be, and "Oh Yeah" shows a wild sense of musical freedom and willingness to experiment.
While not for everyone, Tago Mago will reward the adventurous with its fascinating textures and surprisingly strong sense of melody.
- Jared O'Connor
angsty Germans