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Cyclopean biography
After the breakup of one of the pivotal Krautrock bands, CAN, Irmin Schmidt and Jaki Liebezeit still kept a musical line open between them. While heard on quite a number of albums in the aftermath of their original band, this was perhaps most notably experienced on Schmidt's opera 'Gormengast', which British multi instrumentalist Jono Podmore also had a helping hand in.
On this new collaboration under the name of Cyclopean, we see these long time friends get together with the addition of yet another friend and collaborator musician and producer Burnt Friedman. With two 'new' people in the fold one could be lead into believing that Cyclopean is an altogether new sonic exploration from the classic Krautrockers, yet with their selftitled EP the longtime fans are treated to, what perhaps is the closest they will ever get to a continuation of the CAN signature sound.
The record was the result of a get together at Studio Les Rossignols, France, in May 2011.

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CYCLOPEAN discography

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3.92 | 3 ratings


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 Cyclopean by CYCLOPEAN album cover Singles/EPs/Fan Club/Promo, 2013
3.92 | 3 ratings

Cyclopean Krautrock

Review by Einwahn

4 stars Now here is a little bit of magic. Just four percussion-centred vignettes totalling 22 minutes. They were put together in the French studio of Irmin Schmidt, founder and keyboardist of Can. Schmidt's tasteful and ephemeral touches are everywhere, but the music is unquestionably dominated by the light percussion of former Can drummer Jaki Liebezeit. Despite being in his 70's by this recording, Liebezeit still plays like a metronome. In fact, at first I thought he was a programmed drum synthesizer, an assumption from the presence of Burnt Friedman (real name Bernd Friedmann), who I know only as a member of David Sylvian's group Nine Horses. Actually that band's 'Money for All' (2006) is the closest sound I know to 'Cyclopean'.

This EP is worth investigating by anyone interested in either great percussionists, or the Krautrock band Can. The dynamic of Cyclopean's musicians is fundamentally that of Can, with Liebezeit's extraordinary drumming anchoring weird and wonderful explorations by a brilliant entourage. There are some historical instrumental contraptions in play, a 'prepared piano', a rubber-band guitar, and a 'theremin' (possibly the weirdest instrument ever invented - look it up). Actually the late Keith Emerson can be seen playing a theremin in the DVD of his 'Moscow' (2010) concert (at the close of 'Lucky Man').

Verdict: Perhaps we miss a certain Japanese vocalist singing random lyrics, but a brilliant and dignified late opus for a pair of Krautrock masters.

Thanks to guldbamsen for the artist addition.

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