[4] Apart from the new rhythms, the influence of recording with 16 tracks meant there are multiple guitar lines from Michael Karoli, and Irmin Schmidt's keyboards also come to the fore, giving Flow Motion much more shimmering atmosphere.

59)", is a "filmic fog of rumbling, ominous drums, saturated with metallic clangs and distant war bugles.

It connects the dots between African log rhythms and the approaching metallic tattoos of industrialists like Test Dept, with a nod to the phase music of Steve Reich".

"Jaki halves the speed of his "I Want More" riff, and Michael overdubs several layers of guitars, a taut upbeat in the manner of Jamaica's legions of dub sessioneers, and solarised, feedbacking flareups in the right ear.

Half submerged in the mix, he [Michael] mutters about teeth and ears grinding to the roots, and repeats the title.

"[7] Vivien Goldman of Sounds Magazine praised the album's "android/mechanoid pulsebeat", which are "fun to listen, with creative insanity to this fine example of a mature, imaginative descendant of classical rock.

"[8][9] A few months after the release of Flow Motion, Holger Czukay told an interviewer that "there is one common thing which everybody appreciated from the very first moment and that is the reggae influence.

"[3] (The New) Rolling Stone Album Guide, published in 2004, considered Flow Motion to be "something of a mess"—a slick, commercial record sabotaged by "woozy atonality".

[13] According to Rob Young, the author of Can's biography, the band's hit single "I Want More" proved that Can's tape-based methodology has been slowly integrating into the popular music, and "in the realm of disco and dub reggae, the idea of a long-form, repetitive beat, constructed from tape loops or drum machines, was fast becoming standard practice".