Featuring vocals by Jon Spencer, Diamanda Galas, Julee Cruise, Andre Williams, Kid Congo Powers, Francoise Cactus [Stereo Total], Hanin Elias [Atari Teenage Riot], and Khan.

Diamanda Galas: Turkish brother homopsychotic Khan is very disturbed all the better for our mutual enemies.

Kid Congo Powers: Khan has a great ass... and the music is fabtabulous! ... ˜Why Hurt Flesh was supposed to be like The Crystals˜He Hit Me and it Felt Like A Kissâ but we went a bit wild and it turned to cannibalism!... Khan was all for it. Its nice to fraternize with genius.

Alec Empire: Khan is a true genius! A lot of people copied him, fuck them, he is the original. The collaboration between Hanin and him defines what New Yorks indie drum-machine bands are trying since years but never achieve. I just wish Hanin would stop carrying a gun...

Hanin Elias: Working with Can was like a quickie, spontaneous, fast and satisfactory. Im up for some more...

Julee Cruise: My dog thinks Khans music is Devil music...

Khan composed and played all the music on No Comprendo, then invited a host of vocalists to come up with vocal melodies and lyrics. Some of the singers Khan already knew, others were people he admired for some time. Khan actually was able to get his entire wish list (save for Fred Schneider, with whom he recorded but whose label prohibits side projects). Though their parts were created completely separate from Khan and without his input, both artists were in the studio during recording (alternating between NYC and Berlin). More cooperative than collaborative, this approach provided some exciting tension and discord, illustrated by the fighting cocks on the CD cover. Khan found that the women came to the studio very prepared, while the men improvised on the spot (he thinks Andre Williams has no recollection of even having participated).

Khan says: The idea of No Comprendo was to design songs for different singers so they could come up with their part and bring the song to the next level. Its about cooperation, not just adding a vocalist. Its about freedom, as I didnt tell anyone what to do and accepted whatever they came up with. Its also about spending time with people you like, and in places you like, which is kind of a theme running through my life, with my myriad collaborators, mixed heritage, and the time I now spend split among Berlin, NYC, and Mexico. The music is inspired by music I grew up with New York bands like The Contortions, Lydia Lunch, and Diamanda Galas, German bands like Der Plan, Einstuerzende Neubauten and Toedliche Doris, and other bands like Pere Ubu, Psychic TV, the Gun Club, and Public Enemy. ˜No Comprendo is a tourist expression, something the Americans constantly say in Mexico. I've felt like a tourist my whole life. I may not understand whats going on around me, but I know what I want and how to communicate with people I love.

Can Oral, aka Khan, was born of a Finnish mother and Turkish father, and grew up as an outsider in a hostile Germany. He started his first band Mut zum Schlag (Courage to the Beat) in 1982 with 2 drummers and Khan screaming, and released the first German hip hop/no wave record. He eventually tired of the rock-band life of rehearsals and beer, bought a cheap Atari computer and Prophet 2000 sampler, and started making music for German and Austrian TV programs.

In the late 80s, Khan met the Time Tunnel/Structure posse from Cologne and started making techno with people like Walker, Jammin Unit, Mike Ink. and Jorg Burger. In 1992 he left for New York, where he lived with Jimi Tenor and had a band called Public Extacy that played the early NY Illbient/Lalalandia parties. In their cockroach-infested kitchen studio, they also recorded hundreds of records such as the Bizz OD smash hit Im Coming Out Of Your Speakers that became one of Junior Vasques [Sound Factory]s favorites. In 1994, Khan opened Temple Records (an electronic record store in Manhattan) and started the El Turco Loco label. Once he realized that his least favorite DJs were spinning his records, Khan decided to change his style and became one of ambients most innovative producers, with projects like H.E.A.D. , Global Electronic Network, Radiowaves and 4E, recording for such labels as Mille Plateaux/Force Inc., Harvest, and Rising High. These records had significant impact on the UK Fat Cat, Ifach, and Ninja Tune scenes. In 1999, Matador released the electro-porn quasi-soundtrack 1-900-GET-KHAN, and a “greatest hits” compilation of sorts, Passport, in early 2000. Khan is currently living in Mexico exploring new languages, art, and music, and remaining an "outsider" until the term becomes irrelevant.
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