His subsequent solo career would take him on an open-ended voyage of discovery in which he explored techniques of music collage and “found” sounds, often mixing random fragments recorded from short-wave radio broadcasts into aural tapestries. By the time he made his last album with them, Saw Delight (1976), Czukay had stopped playing bass to concentrate instead on creating electronic effects. Photograph: Gesine Petter/FotexĬzukay remained with Can during the period that saw them release their most accomplished and admired recordings, Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973), on which they brewed a flavoursome concoction of ambient and electronic music mixed with rock and avant garde. Holger Czukay, second left, with other members of Can in the early 1970s. Nonetheless their work – not least their mastery of the minimal, repetitive “Motorik” beat, which became a trademark, of Can, Neu! and other German bands – left a lasting impression on countless artists who came in their wake. Can never achieved huge commercial success, though they did achieve a Top 10 hit in Germany with Spoon, the theme from a TV thriller series, in 1972. #Jah wobble edge the holger czukay snake charmer rar movieRight from their first album, Monster Movie (1969), they broke new ground with their fondness for improvised playing shaped by editing, layering and electronic effects, and Czukay took a prominent role in producing and engineering the band’s albums. However, Can described themselves as an “anarchist community”, and the group’s experimental spirit allowed Czukay plenty of room to explore various aspects of electronic music and recording. “He doesn’t move much, but when he does he changes everything.” “The bass player’s like a king in chess,” he reflected later. When Holger Czukay, who has died aged 79, became one of the founding members of the Cologne-based band Can in 1968, his role was that of bass player.
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