Artist: Can Album: Rite Time

Year: 1989
Duration: 41:54

Rite Time Album Review: Can's Brilliant Final Act

Can is known as one of the most influential experimental rock bands that emerged in the 70s. Their legacy is reflected in their complex, innovative, and literate compositions. And Rite Time, the band’s final album, is no exception. Released in 1989, over a decade since their debut, it demonstrates that Can never lost their passion for experimentation and improvisation. In this blog post, we will delve into the history of Can, the musical genre of the album, the best tracks of the album, and its most innovative parts. And finally, we will present a critical review of the work.

Can was formed in Cologne, Germany, in 1968. Founding members Irmin Schmidt, Holger Czukay, and Jaki Liebezeit met several years earlier whilst studying Music in Cologne’s Conservatory. In Can, they joined forces with American sculptor Malcolm Mooney who became the band's first vocalist. The band's music was built upon the collision of noise, improvisation, and avant-garde elements that sought to reinvent rock music entirely. And in the 70s, their innovative sound, which was evident in albums like Tago Mago and Ege Bamyasi, influenced artists like David Bowie, Talking Heads, Sonic Youth, and PiL.

Rite Time, their final album, is a continuation of their quest for exploration and experimentation. It is a hybrid of funk, rock, electronic music and free-form improvisation. The album is sentimental, introspective, and carries a hint of melancholy. The synergy generated by drummer Jaki Liebezeit and bassist Rosko Gee is a standout feature of the album. On the opening track, On The Beautiful Side of a Romance, a fusion of Latin-inspired rhythms and Gee’s melodic basslines creates an ambiance that is both mesmerizing and soothing.

Elsewhere on the album, Spiderleg is a classic example of Liebezeit's masterful drumming, which was always the backbone of Can's unconventional sound. The track is characterized by an intense, hypnotic beat that forms a foundation for the call-and-response guitar riff played by Michael Karoli and the sharp, stinging notes by keyboardist Irmin Schmidt. Another highlight of Rite Time, Give the Drummer Some, showcases the skills of the band's drummer, which is both intricate and mesmeric.

The most innovative feature of Rite Time, however, is the use of digital technology. At a time when digital-sampling was still a novelty, Can embraced it. On the track Sodosopa, we hear the voice of former band member Damo Suzuki sampled in the background, giving the song its eerie, otherworldly feel. The use of the sampling technology was also reflected in the album's sound textures. The sound was crisp, defined and created a sense of space that was both futuristic and alien.

The only downside of this album is that it lacks cohesion. The tracks seem disconnected, like they were patched together without any uniformity. For instance, In the Distance Lies the Future follows a completely different tempo and soundscape from the opening track. Though the songs are imbued with the trademark energy and creativity of Can, the album lacks a clear direction and theme to guide it fully.

Can's final album is a testament to the band’s innovative and experimental approach to music. Rite Time shows that even at the end of their career, they remained true to their vision of music-making. It is a fitting finale that encapsulates all of the band's influences and creativity. Rite Time may not be the band's best album, but it stands as a testament to their classic sound and as a reminder of their incredible impact on the music world. To those who appreciate unconventional and imaginative music, this album is a must-listen.