Tag Archives: Compost Records

On Record – Web Web: Plexus Plexus (Compost Records)

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by Ben Hogwood

What’s the story?

The prolific Munich group Web Web here notch up their sixth album in seven years, described on their Bandcamp pages as “more psychedelic, sometimes more krauty than before”.

This time the group comprise Roberto Di Gioia (Rhodes, Fender Precision Bass, Moog, Mellotron, percussion), Christian von Kaphengst (Fender Precision Bass, Rhodes), Peter Gall (drums, percussion, Fender Rhodes) and Tony Lakatos (tenor saxophone, flute), with the core members often switching between instruments.

Web Web were joined by a guest for the recording, guitarist JJ Whitefield, while Michael Reinboth, the Compost founder, is executive producer.

What’s the music like?

The psychedelic elements are quickly evident in the lovely, grainy sound of Apotheosis, where Whitefield’s distorted guitar asserts its presence. The contrast with The Madness of Ajax is a marked one, as Lakatos’ flute comes to the fore.

The organ-led Mysia travels through time, with murky distortion, while there is a wonderful version of Moondog’s Bird’s Lament, a spontaneous suggestion from Reinboth that features a rather beautiful sax solo from Lakatos.

There is indeed a healthy infusion of space jazz and Krautrock, found especially on tracks like Nyx, where a heady keyboard line is spun out over reverberant drum track and appealing weirdness in the middle ground.

Does it all work?

It does indeed, for the players pack a lot into a short space of time. None of the tracks outstay their welcome, the result being focused playing that creates really appealing moods and melodies.

Is it recommended?

It is. Plexus Plexus feels like a time capsule, recorded recently but beaming some of the best bits of the 1970s in through its sessions.

For fans of… Jazzanova, Mr. Scruff, Tosca, Boozoo Bajou, Four Hero

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Published post no.2,546 – Tuesday 27 May 2025

Switched On – Various Artists: Future Sounds Of Kraut Vol. 2 – Compiled by Fred und Luna (Compost)

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by Ben Hogwood

What’s the story?

Compost Records write: “Rainer Buchmüller aka Fred und Luna sadly passed away in January 2024 after a long illness. He was a kind-hearted person, gifted artist, friend and companion. We mourn him deeply. A few days before his death, Rainer Buchmüller had sent us the track listing for Vol. 3 (and already ideas for Vol. 4), with the request to publish this posthumously, he would be very happy if his fans and all those who will be would receive a “sign of life” from him.

The tracks are all German – of course – and are drawn from the 1970s and 1980s, and Buchmüller builds on the first two volumes of the series with a third that pushes the envelope of ‘krauty’ elements still further.

What’s the music like?

This compilation is a lot of fun, the chosen tracks displaying invention, wit, charm and enough rhythmic drive to get any stubborn dancefloor on the move.

The highlights are many, beginning with Christian Nainggolan’s Nachtraucher, a really good percussive heavyweight. The grooves are infectious, no more so than on Die Wilde Jagd’s Austerlitz, an excellent, sabre tooth groove. Water Map, a Fred und Luna collaboration with Organza Ray, is a propulsive winner, with its bubbling bass, spoken word and shady trumpet.

Sula Bassana’s Space Taxi is suitably cosmic, while Die Orangen’s Lost In The Center harks back to a slow 80s electro boomer. Meine Muse, from Philipp Johann Thimm, is ghostly, while Puma & The Dolphin’s Nuances is excellent, typifying the original rhythms and humour running through this compilation.

Does it all work?

It does – a wide variety of styles and approaches make this a consistently rewarding compilation.

Is it recommended?

It is. Rainer Buchmüller had very sound instincts when it came to choosing a compilation, and this third volume of Future Sounds of Kraut complements the first two beautifully. Make sure you catch all three!

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Published post no.2,447 – Sunday 16 February 2025

On Record – Prepared: Module (Compost Records)

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What’s the story?

Prepared are a trio of jazz musicians from Munich, with pianist Chris Gall, bass clarinettist Flo Riedl and drummer Christoph Holzhauser. Gall plays Argentinian tango with Quadro Nuevo, Riedl plays what is described as ‘folklore-free folk music’ with Dreiviertelblut and Holzhauser is part of German hip hop ensemble Moop Mama.

As Prepared they take short musical motifs and build them into more substantial pieces, in the manner that minimalists such as Steve Reich might work but with several leanings towards jazz, especially in their syncopated rhythms.

What’s the music like?

Engrossing and a lot of fun. Gall’s piano is subtly modified in performance, and the wide range of colours he can secure from the instrument are made through hammering, tapping and plucking, bringing out its more percussive elements. Riedl’s bass clarinet is versatile, too, adding a really pleasing rasp to the texture, whether in bass part or melodic content. It often provides the essential syncopations that keep the music in the air. Holzhauser, meanwhile, is a virtuoso who plays with an improvisatory air but can switch between swinging disco beats and more complicated rhythmic exchanges.

When things cut loose and get into the groove on Modul Vier IV the trio resemble fellow dance enthusiasts Brandt Brauer Frick, but are more obviously jazz-bound in their thinking on Modul Eins II, which enjoys a persuasive sequence of crossrhythms, cutting effectively to the dampened piano. Modul Vier II is made of an attractive, rippling piano figure from Holzhauser, while the invigorating syncopations of Modul Zwei II are prompted by the clarinet.

Does it all work?

Pretty much – the trio have a very clear musical chemistry, and the fluid working out of their ideas is compelling to listen to. The colour combinations made by their instruments are ideal.

Is it recommended?

It certainly is. There is a good deal of enjoyment to be had from a trio who like to push the rhythmic envelope, bringing elements of jazz and disco into close correlation and having a lot of fun as they do so.

For fans of… Brandt Brauer Frick, Christian Prommer, Bugge Wesseltoft, Henrik Schwarz

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Published post no.2,415 – Sunday 18 January 2025

Switched On – Various Artists: Future Sounds Of Kraut Vol. 2 – Compiled by Fred und Luna (Compost)

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by Ben Hogwood

What’s the story?

A shadow hangs over the release of this compilation, the second in Compost’s exploration of Kraut. It was compiled by Fred und Luna, the muses of musician, author and photo/film maker Rainer Buchmüller – who calls his music either Elektrokraut or Krautelektro.

Very sadly Buchmüller passed away on February 8th 2024, and Compost issued this tribute: “We are deeply saddened that we lost a very close friend, a true creative musician, artist, poet, soulmate and beloved human being with a great sense of humour. Rainer Buchmüller aka Fred und Luna died after a long carcinosis. Our thoughts and prayers in these days of mourning are with his wife and family. Rainer Buchmüller aka Fred und Luna has made several albums, first one on Frank Wiedemann’s Bigamo label, then three albums plus several Maxi – Singles and 7 inches on Compost Records and Elaste Records. Rainer had several alter egos, too. Under his Fred und Luna moniker he recently compiled the highly acclaimed “Future Sounds Of Kraut” compilation series for Compost. Rainer also wrote circa 120 poems in the vein of Ernst Jandl, Dada, Kurt Schwitters. Rainer, we love you! R.I.P.”

What’s the music like?

Buchmüller has left us an extremely enjoyable compilation, framed by his own Intro and Outro, and featuring the Kraftwerk-influenced electronica of Monotonikum from 2016 in the middle. The tone is friendly, the intro asking, “Future sounds of Kraut…what’s it all about?” before moving into Sankt Otten’s warm-hearted Angekommen In Der Letzten Reihe.

There are some notable contributions from Roman Flügel, whose Rules is a typically intricate mix of riffs and creative drum work, and Thomas Fehlmann, the spacey Permanent Touch. Other highlights include the glittery electro of Ghost Power’s Vertical Section, the colourful swirls of Gilgamesh Mata Hari Duo’s Johan, and the bossa beat that backs a brooding soundscape in I:Cube’s Basso. Lucas Croon’s Krautwickel has a really strong forward drive and shuffling drum track, a classic piece of Krautrock, while Sordid Sound System’s It’s About Time bounces around the stereo picture, a low-slung groove.

Does it all work?

Almost all – the only possible exception being Minami Deutsch’s Your Pulse, whose breathing can be off-putting and will likely divide opinion.

Is it recommended?

It is, enthusiastically. Future Sounds of Kraut Vol.2 is packed with good music, and its release is the best possible way to honour Buchmüller in the sad news of his passing.

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Published post no.2,109 – Wednesday 6 March 2024

Switched On: All Is Well – A Break In Time (Compost / Drumpoet Community)

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by Ben Hogwood

What’s the story?

Fred Everything (real name Frédéric Blais) started A Break In Time as an exercise in calming meditation during lockdown – its function to do as the title suggests, a break from the stress.

It wasn’t long before he realised that the music was taking form and had album-making potential so, donning the All Is Well moniker, he worked on realising the project as a homage to ambient music in general, looking back to early works from Carl Craig and Black Dog, as well as the legendary Warp compilation Artificial Intelligence.

What’s the music like?

A Break In Time is certainly ambient, but occasionally it brings to the surface an underlying tension explained by when it was written. Blais writes instinctively well in this form, the tracks are really well structured, and the voicing is such that the listener can choose whether to take the music from background to foreground. It is equally effective in either form.

Day One establishes calming, warm textures, but the music takes on more movement with tracks like Forever And A Year, where active percussion is paired with wavy keyboard lines, creating a curious tension. Risqué has a rising motif that can prove disorientating too, like a distant alarm – but by contrast a track like At Well matches synth riffs with washes of colour.

Does it all work?

It does. Blais has achieved a really satisfying blend where musical instinct and a keen sense of structure go hand in hand.

Is it recommended?

It is – this is an album with staying power, and the ability to create its own unique atmosphere. Another fine piece of work from Fred Everything.

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