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    UNCUT2 min read
    Uncut
    HERE’S Irmin Schmidt, explaining the mercurial brilliance of Can in full flight. “Even if we improvised onstage, we always went in the same direction,” he tells us on page 19. “In a way that it became a music that was not just bullshit. It was not so
    UNCUT1 min read
    Q&A
    Are there similarities between your music-making process and your day job as a psychoanalyst? When I was younger, it felt like a sort of irreconcilable split. But now I see that they inform each other really nicely, because both are about process, an
    UNCUT7 min read
    Irmin Schmidt
    FOR a few years now, Irmin Schmidt has been the conscientious curator of the Can legacy – a role that has taken on added poignancy since the recent passing of Damo Suzuki, leaving keyboardist Schmidt as the last surviving member of the classic early-

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