Switched on – GAS: Oktember (Kompakt)

What’s the story?

This second EP from Wolfgang Voigt‘s GAS project actually dates from 1999, when it was released on Mille Plateaux, but now it has been ‘transferred’ to his home Kompakt label. There are only two tracks but half an hour of music, released in part to offer some comfort in isolation.

What’s the music like?

This is music for mindfulness. Tal 90, the first track, feels like it is played on vinyl, with the reassuring clicks and scratches serving as a background to Voigt’s fuzzy overall sound. His concept is orchestral, with serene violins high in the mix and a soft but majestic line for horn. There are no drums but the music floats in suspension, resulting in a comforting feeling for the listener.

The second track Oktember is much darker and denser, and has an immediately subtle menace to its sound. The steady tread of a four to the floor rhythm underpins thick, brooding chords, which are still strangely comforting despite their straight-faced approach.

Does it all work?

It does. GAS is an incredibly well-revered project and in all recent ambient music it remains one of the most recognisable styles. Time really does stand still when Voigt finds the right level of musical hypnosis, and Oktember finds him towards top form.

Is it recommended?

Yes – and if fans don’t already have it they will want to snap up these two recordings. They work particularly well as early morning or late night balm.

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Switched On – Various Artists: Velvet Desert Music Vol.2 (Kompakt)

reviewed by Ben Hogwood

What’s the story?

The idea behind Velvet Desert Music is to present a modern alternative to those wide-open vistas created in the 1960s and 1970s by so-called ‘Acid Western’ films. Jörg Burger is the man Kompakt have tasked with this musical vision, and after a successful first instalment he broadens horizons further with this follow-up.

What’s the music like?

Just as Burger would have wanted, the music for Velvet Desert Music is wide open and easy on the ear, but it is also refreshingly off beat and unpredictable at times. He operates with a freedom that allows him to introduce grooves like Paulor’s WE two thirds of the way through, bringing a chunky ’80s beat to the bottom of the big horizons.

Occasionally the percussion does get quite congested, but not in a bad way, as Michael Mayer’s opening track Not So Far Away confirms. After that the musical camera pans out, establishing an easier, four to the floor beat with The Velvet Circle’s Vertigo, before the soothing vocal of Charlotte Jestaedt wraps around Mount Obsidian’s Ride.

Elsewhere the offbeat grooves of Fantastic TwinsBetween The Dog And The Wolf and Sascha Funke’s In Der Tat have a glint in the eye, while a second appearance from Mount Obsidian brings maximum bliss with the Cubenx edit of Casa Delfines, before some attractive Krautrock-style noodling from Lake Turner/WEM/Hand and East County Lines. Burger weighs in with his own Velvet 77 mix of Pluramon’s Dragon Slayer, showing a metallic edge to the steel guitar and flecks of piano, before The Novotones close with the starry-eyed Angel of Doomsday, and its sotto voce vocals.

Does it all work?

Pretty much. Burger keeps things ticking over nicely, and there are several moments where the inner ear loosens up very nicely. The track choices are good, and the blend of contrasting grooves keeps things interesting.

Is it recommended?

Yes, especially if you found the first volume to your taste. The second Velvet Desert Music works equally well on headphones or on surround sound, positioned ideally as a collection to offer easy going respite. And that, after all, is what we all need right now.

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Switched On – Kompakt: Total 19

reviewed by Ben Hogwood

What’s the story?

Cologne label Kompakt is one of the cornerstones of electronic music and techno. Around this time every year they dip in to the catalogue for a Total collection of exclusives, an annual occurrence for nearly two decades now – and as important as it ever has been for main man Michael Mayer, who oversees this selection.

He goes for a mixture of old and new, established and just setting out – all offering a rich variety of nearly three hours’ music. The aim, as Mayer says, it to ‘reinforce the bond between artists and listeners. They’re like your favourite restaurant round the corner’.

What’s the music like?

Mayer serves up plenty on the Kompakt menu. The first act of the double concentrates on the label’s staple acts, the likes of Jürgen Paape, Jörg Burger and Voigt & Voigt, the brothers delivering reliably strong techno.

Perhaps the two best tracks of the first part are Tom Demac’s Serenade, a really broad and lovely piece of piano-led, richly textured electronica – and the Albert Luxus track In Den Arm Bitte!, remixed with warm colours by Julian Stetter. DJ Balduin’s expansive E.W.B.A. is a fine piece of work, broken beats and big textures. Rex The Dog’s Vortex makes a strong impression too, as does Jonathan Kaspar’s fluid effort Renard.

Arguably it is the second part of newer material that makes the stronger impression, though it does get a bit more samey with its monotone minimal tracks towards the end. Fahrland makes an especially good contribution with Yesterday, darkly dramatic and with elements of Chicago house from Mz Sunday Luv, while the growling lower end bass of Extrawelt’s Pink Panzer gets the complement of some extra acidic tweaking up top. Patrice Baumel gives attitude with Grace, ANNA lets loose at the sharp end of techno with Remembrance, while Raxon proves a driving force with Dark Light.

Does it all work?

In the majority, yes. From the warmth and vulnerability of Weval’s opening track Are You Even Real to the final flourish of Gui Boratto’s 618, via the Kölsch mixing desk, this is a set of tracks that Mayer has clearly spent some time over. The high level watermark remains.

Is it recommended?

Yes – Kompakt are still on their game on this release, and the appearance of Total in the calendar is a reassuring reminder that their high quality thresholds are unlikely to dip any time soon.

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John Tejada

john-tejada

John Tejada is a well established and highly respected techno musician – but his roots lie in an upbringing full of classical music. Arcana called him on a break from work in his California studio, where he wrote his tenth album Signs Under Test, released on Kompakt this month.

He spoke about the benefits of a musically open family, how that led him to hone his own approach to music, and why he loves the music of Steve Reich. But first, after a quick listen…

Can you remember your first encounter with classical music?

My first memories were from my parents, with my mother being an opera singer and my father a clarinettist and conductor. I would often get dragged around to gigs! One of my first memories was seeing them practice, and that made it very real. I think that probably that programmed me into the routine of how you get up, have breakfast and then practice, and that has stuck with me right through to this day. It was a big influence in what I do now.

There are often moments in your music where you are subtly very inventive, using unusual rhythms and less conventional harmonic patterns. Does that stem from your upbringing do you think?

I suppose it does, but I couldn’t properly explain it. It’s one of the different ways I got to where I am now. My focus is not on getting played out by DJs but it is an enjoyment of listening to what feels interesting. Getting the fuzzy feeling, that’s what I’m after!

What does classical music mean to you?

I wouldn’t say that ‘classical’ music means a great deal to me, as I tend towards the stuff that the more modern composers did, I would go with my mum to see Steve Reich concerts; we’d go to see that stuff together. I don’t actively listen to the classic stuff, but because opera was always on at full blast in the house I got to hear a lot of it. It gave me an interesting perspective on what music is and what it can do. It has stuck with me the whole way through.

The categorisation of what is classical music has always puzzled me. The early works of Stockhausen are classical but today sound like something like that could be released on Torch Records! Looking back, it’s pretty wild what was going on in the 1950s and 1960s compared to what people do today.

Is Steve Reich a big influence on your work?

Absolutely. One of the biggest goose bumps I have ever had was going to see the Music for 18 Musicians live for the first time:

You start to see that live, and you say “Holy shit, it’s real!” It flared up a real love of the music in me. No-one bothered to notice that on my last album The Predicting Machine there is a strong nod to Reich on the fourth track, Winter Skies:

Reich was so revolutionary in the way he showed people could have ideas of just using tape loops. He was a massive influence on digital music today with the loops and the phase experiments – he laid the fundamentals to what people are still doing now. I would love to see Music for 18 Musicians performed on synths, I think that would be really successful.

What would you say classical music – as you listen to it – and techno have in common?

I think a lot of stuff! I really enjoy making those connections. I think classical music – and the music of Reich – refers to looped and non-looped music that is beatless. The question for techno is ‘Can you do that with a beat?’ For me though the fundamentals of techno and drone are laid down without a beat. Terry Riley and Steve Reich discovered that. It is an interesting connection there, but I find a lot of people won’t give it a chance. It’s like eating a vegetable. There are times when I won’t explore because I just don’t know.

What do you know and like at the moment?

I am a big fan of Terry Riley, because he is one of those great composers who cross into other areas. In his album A Rainbow in Curved Air he used music in a way that would give Autechre a run for their money:

I also think early Art of Noise records are really interesting, you have people trying stuff out – because why not? I remember when I was listening to some of this stuff at home, and being nearly asleep but being scared silly at the same time! We had some really interesting radio in the mid-1980s, and I was absorbing some crazy stuff.

I remember one time when one of my friends came round who was writing some particularly experimental stuff. He was playing that new stuff for me, which was a real risk for him playing it at full blast. Mum came in and said, “What are you playing, it’s really interesting – it sounds like…” and then she named three different composers. It wasn’t the standard request to turn it down at all!

Would you like to try writing more classically based music?

I have done some more experimental things on labels like Plug Research, but yes – I do have an idea to do something that is modern classical. We’ll see how that develops!

John Tejada’s new album Signs Under Test is out now on Kompakt – and you can listen to it on the label’s website here. For more about the artist himself, visit his Facebook page