SOUNDTRACKS

'Soundtracks' is German band Can's second release, although not their second studio album - the aforementioned is a compilation of music written for various films, five to be precise, that feature for the first time new vocalist Damo Suzuki, while original singer Malcolm Mooney appears on two of the seven album tracks, formerly the voice of the band on their 1969 debut album 'Monster Movie'. And the successful post-psychedelic krautrock experiment continues with 1970's 'Soundtracks', an interesting collection of diverse compositions that on the surface seem to be somehow directionless and even a bit disorienting, especially knowing that this LP is made up of commissioned works for different movies, and was never meant to be as album-oriented as the debut album, elements of which are to be discovered all over this very decent collection.

With the introduction of Damo Suzuki, it is very interesting to see how his strangulated, odd vocal delivery fits the jam-based, experimental music of Can, becoming increasingly more intricate and labyrinthian, and on this album this aspect of the band's sound is opposed to the significantly different vocal style of Mooney, which ultimately becomes limited for the musical scope of the krautrock innovators. As for the music on the album, we have an overall eclectic sound that explores different corners of the band's musical interests - opener 'Deadlock' is definitely dark and nostalgic, and the upfront guitars sweep around rendering the atmosphere of this song hefty and remorseful, while tracks like 'Tango Whiskyman' and 'Don't Turn the Light On' offer a more upbeat post-psychedelic sound, more similar to the music on 'Monster Movie'. 'Soul Desert' is groovy and repetitive and works rather finely, despite the irritative qualities of the vocals. Then there is the 'Mother Sky' suite from 1971's 'Deep End' movie, with its fifteen minutes of fusion energy, manic guitar playing, and hypnotic rhythm section, definitely one of the essential Can works. The final song on 'Soundtracks' features Mooney and his soulful delivery, on a song that is more downtempo than the rest of the record.

This entire album is strange but rather good in parts, which is why it has remained many Can fans' favorite (or guilty pleasure). The major highlight has to the be 'Mother Sky' piece, which echoes the excellent experimental ventures of the band's 1969 debut.

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