GAS
GAS-
Boomkat Product Review:
First time reissue of Wolfgang Voigt's foundational first GAS album since its release in 1996 - it remains the archetype for so much contemporary ambient music and back-room techno, melting camouflaged German cultural references into a timeless, anthemic pulse. This new reissue is the original extended vinyl version, with definitive longer versions of the six classic tracks. Available in deluxe 3LP and single CD editions.
By the mid-'90s, techno had become the language of German youth culture, tied up in the country's long history of electronic musical innovation - from Kluster to Kraftwerk - and the revolutionary cry of reunification when the Berlin Wall fell in 1989. Based in Köln, Voigt had already put his stamp on dance music by the time he embarked on the mysterious GAS project, working alongside his brother Reinhard to help devise the sound that would evolve into minimal techno, but GAS felt different - more illusory, hypnotic.
The name, aside from accurately describing the vaporous ambience that whispers through each track, stands for Germany, Austria, Switzerland, and it was Voigt's concept to not only express the feeling of dropping acid in the Königsforst, a verdant woodland only a short drive from Köln, but to distill centuries of German music into a contemporary haze that reflected a hopeful new era. And after testing the waters with '95's Profan-released EP 'Modern', Voigt set a new benchmark with 'GAS', laying out his narrative over six long movements, the shortest of which clocks in at just under 12 minutes.
Voigt wasn't interested in making songs, exactly, but emphasizing texture, burying samples of traditional German music - from baroque to schlager - in murky drones punctuated by squashed 4/4 rhythms. Not dance music exactly, it's headphone gear that's referencing the dance canon in its shift from the US, through Jamaica and the UK to Germany. Much like the Artificial Intelligence era in the UK, it imprints the familiar cycles (pulsing kick drums, undulating soundsystem-ready basslines) with its own regional character. It's no mistake that Voigt begins with an entirely beatless composition that paints the landscape without revealing the complete palette. The album's airiest track, 'GAS 1' is a stylistic milestone - something we can hear tracking thru electronic music from then until now; just listen to Jan Jelinek, Vladislav Delay, PAN's 'Mono No Aware' comp, or anything on the West Mineral imprint. It's ambient music, but where Eno's vision was trained on an earlier era, Voigt had cut his teeth on acid house, hardcore and Detroit techno, and was able to muddle those influences with his own homegrown obsessions.
That famous, omnipresent filtered kick makes its first appearance on 'GAS 2', thudding beneath watery glitches and sweeping orchestral pads. Voigt doesn't make his concept too vivid (at least at this stage in its evolution), but the outline of classical music is there, punctured by mesmerising minimal thuds that as yet hadn't become a meme. It's not music that develops, it exists, freezing a moment in time and letting the mind pick out a scene, concentrating on the organic, shifting harmonies rather than the static beat. If acid house was all about the squelch, this was all about vapour, as sample-rich pads seem to disappear into clouds of static, blooming from the density. There's a more evident schlager-inspired swing on 'GAS 4' that Voigt and his Kompakt crew would explore more in the coming years, but it's contorted into a subterranean rumble, and on 'GAS 5', the producer tentatively glances trance's quivering euphoria, using reverb and delay to turn anthemic stabs into whooshing melodic rushes.
If you haven't managed to hear GAS before, this is the perfect starting point, and if you've only heard the album in its truncated form (both the CD release and the 'Nah und Fern' version were incomplete), then we've got to say this is the one.
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Boomkat Product Review:
First time reissue of Wolfgang Voigt's foundational first GAS album since its release in 1996 - it remains the archetype for so much contemporary ambient music and back-room techno, melting camouflaged German cultural references into a timeless, anthemic pulse. This new reissue is the original extended vinyl version, with definitive longer versions of the six classic tracks. Available in deluxe 3LP and single CD editions.
By the mid-'90s, techno had become the language of German youth culture, tied up in the country's long history of electronic musical innovation - from Kluster to Kraftwerk - and the revolutionary cry of reunification when the Berlin Wall fell in 1989. Based in Köln, Voigt had already put his stamp on dance music by the time he embarked on the mysterious GAS project, working alongside his brother Reinhard to help devise the sound that would evolve into minimal techno, but GAS felt different - more illusory, hypnotic.
The name, aside from accurately describing the vaporous ambience that whispers through each track, stands for Germany, Austria, Switzerland, and it was Voigt's concept to not only express the feeling of dropping acid in the Königsforst, a verdant woodland only a short drive from Köln, but to distill centuries of German music into a contemporary haze that reflected a hopeful new era. And after testing the waters with '95's Profan-released EP 'Modern', Voigt set a new benchmark with 'GAS', laying out his narrative over six long movements, the shortest of which clocks in at just under 12 minutes.
Voigt wasn't interested in making songs, exactly, but emphasizing texture, burying samples of traditional German music - from baroque to schlager - in murky drones punctuated by squashed 4/4 rhythms. Not dance music exactly, it's headphone gear that's referencing the dance canon in its shift from the US, through Jamaica and the UK to Germany. Much like the Artificial Intelligence era in the UK, it imprints the familiar cycles (pulsing kick drums, undulating soundsystem-ready basslines) with its own regional character. It's no mistake that Voigt begins with an entirely beatless composition that paints the landscape without revealing the complete palette. The album's airiest track, 'GAS 1' is a stylistic milestone - something we can hear tracking thru electronic music from then until now; just listen to Jan Jelinek, Vladislav Delay, PAN's 'Mono No Aware' comp, or anything on the West Mineral imprint. It's ambient music, but where Eno's vision was trained on an earlier era, Voigt had cut his teeth on acid house, hardcore and Detroit techno, and was able to muddle those influences with his own homegrown obsessions.
That famous, omnipresent filtered kick makes its first appearance on 'GAS 2', thudding beneath watery glitches and sweeping orchestral pads. Voigt doesn't make his concept too vivid (at least at this stage in its evolution), but the outline of classical music is there, punctured by mesmerising minimal thuds that as yet hadn't become a meme. It's not music that develops, it exists, freezing a moment in time and letting the mind pick out a scene, concentrating on the organic, shifting harmonies rather than the static beat. If acid house was all about the squelch, this was all about vapour, as sample-rich pads seem to disappear into clouds of static, blooming from the density. There's a more evident schlager-inspired swing on 'GAS 4' that Voigt and his Kompakt crew would explore more in the coming years, but it's contorted into a subterranean rumble, and on 'GAS 5', the producer tentatively glances trance's quivering euphoria, using reverb and delay to turn anthemic stabs into whooshing melodic rushes.
If you haven't managed to hear GAS before, this is the perfect starting point, and if you've only heard the album in its truncated form (both the CD release and the 'Nah und Fern' version were incomplete), then we've got to say this is the one.
Boomkat Product Review:
First time reissue of Wolfgang Voigt's foundational first GAS album since its release in 1996 - it remains the archetype for so much contemporary ambient music and back-room techno, melting camouflaged German cultural references into a timeless, anthemic pulse. This new reissue is the original extended vinyl version, with definitive longer versions of the six classic tracks. Available in deluxe 3LP and single CD editions.
By the mid-'90s, techno had become the language of German youth culture, tied up in the country's long history of electronic musical innovation - from Kluster to Kraftwerk - and the revolutionary cry of reunification when the Berlin Wall fell in 1989. Based in Köln, Voigt had already put his stamp on dance music by the time he embarked on the mysterious GAS project, working alongside his brother Reinhard to help devise the sound that would evolve into minimal techno, but GAS felt different - more illusory, hypnotic.
The name, aside from accurately describing the vaporous ambience that whispers through each track, stands for Germany, Austria, Switzerland, and it was Voigt's concept to not only express the feeling of dropping acid in the Königsforst, a verdant woodland only a short drive from Köln, but to distill centuries of German music into a contemporary haze that reflected a hopeful new era. And after testing the waters with '95's Profan-released EP 'Modern', Voigt set a new benchmark with 'GAS', laying out his narrative over six long movements, the shortest of which clocks in at just under 12 minutes.
Voigt wasn't interested in making songs, exactly, but emphasizing texture, burying samples of traditional German music - from baroque to schlager - in murky drones punctuated by squashed 4/4 rhythms. Not dance music exactly, it's headphone gear that's referencing the dance canon in its shift from the US, through Jamaica and the UK to Germany. Much like the Artificial Intelligence era in the UK, it imprints the familiar cycles (pulsing kick drums, undulating soundsystem-ready basslines) with its own regional character. It's no mistake that Voigt begins with an entirely beatless composition that paints the landscape without revealing the complete palette. The album's airiest track, 'GAS 1' is a stylistic milestone - something we can hear tracking thru electronic music from then until now; just listen to Jan Jelinek, Vladislav Delay, PAN's 'Mono No Aware' comp, or anything on the West Mineral imprint. It's ambient music, but where Eno's vision was trained on an earlier era, Voigt had cut his teeth on acid house, hardcore and Detroit techno, and was able to muddle those influences with his own homegrown obsessions.
That famous, omnipresent filtered kick makes its first appearance on 'GAS 2', thudding beneath watery glitches and sweeping orchestral pads. Voigt doesn't make his concept too vivid (at least at this stage in its evolution), but the outline of classical music is there, punctured by mesmerising minimal thuds that as yet hadn't become a meme. It's not music that develops, it exists, freezing a moment in time and letting the mind pick out a scene, concentrating on the organic, shifting harmonies rather than the static beat. If acid house was all about the squelch, this was all about vapour, as sample-rich pads seem to disappear into clouds of static, blooming from the density. There's a more evident schlager-inspired swing on 'GAS 4' that Voigt and his Kompakt crew would explore more in the coming years, but it's contorted into a subterranean rumble, and on 'GAS 5', the producer tentatively glances trance's quivering euphoria, using reverb and delay to turn anthemic stabs into whooshing melodic rushes.
If you haven't managed to hear GAS before, this is the perfect starting point, and if you've only heard the album in its truncated form (both the CD release and the 'Nah und Fern' version were incomplete), then we've got to say this is the one.
Boomkat Product Review:
First time reissue of Wolfgang Voigt's foundational first GAS album since its release in 1996 - it remains the archetype for so much contemporary ambient music and back-room techno, melting camouflaged German cultural references into a timeless, anthemic pulse. This new reissue is the original extended vinyl version, with definitive longer versions of the six classic tracks. Available in deluxe 3LP and single CD editions.
By the mid-'90s, techno had become the language of German youth culture, tied up in the country's long history of electronic musical innovation - from Kluster to Kraftwerk - and the revolutionary cry of reunification when the Berlin Wall fell in 1989. Based in Köln, Voigt had already put his stamp on dance music by the time he embarked on the mysterious GAS project, working alongside his brother Reinhard to help devise the sound that would evolve into minimal techno, but GAS felt different - more illusory, hypnotic.
The name, aside from accurately describing the vaporous ambience that whispers through each track, stands for Germany, Austria, Switzerland, and it was Voigt's concept to not only express the feeling of dropping acid in the Königsforst, a verdant woodland only a short drive from Köln, but to distill centuries of German music into a contemporary haze that reflected a hopeful new era. And after testing the waters with '95's Profan-released EP 'Modern', Voigt set a new benchmark with 'GAS', laying out his narrative over six long movements, the shortest of which clocks in at just under 12 minutes.
Voigt wasn't interested in making songs, exactly, but emphasizing texture, burying samples of traditional German music - from baroque to schlager - in murky drones punctuated by squashed 4/4 rhythms. Not dance music exactly, it's headphone gear that's referencing the dance canon in its shift from the US, through Jamaica and the UK to Germany. Much like the Artificial Intelligence era in the UK, it imprints the familiar cycles (pulsing kick drums, undulating soundsystem-ready basslines) with its own regional character. It's no mistake that Voigt begins with an entirely beatless composition that paints the landscape without revealing the complete palette. The album's airiest track, 'GAS 1' is a stylistic milestone - something we can hear tracking thru electronic music from then until now; just listen to Jan Jelinek, Vladislav Delay, PAN's 'Mono No Aware' comp, or anything on the West Mineral imprint. It's ambient music, but where Eno's vision was trained on an earlier era, Voigt had cut his teeth on acid house, hardcore and Detroit techno, and was able to muddle those influences with his own homegrown obsessions.
That famous, omnipresent filtered kick makes its first appearance on 'GAS 2', thudding beneath watery glitches and sweeping orchestral pads. Voigt doesn't make his concept too vivid (at least at this stage in its evolution), but the outline of classical music is there, punctured by mesmerising minimal thuds that as yet hadn't become a meme. It's not music that develops, it exists, freezing a moment in time and letting the mind pick out a scene, concentrating on the organic, shifting harmonies rather than the static beat. If acid house was all about the squelch, this was all about vapour, as sample-rich pads seem to disappear into clouds of static, blooming from the density. There's a more evident schlager-inspired swing on 'GAS 4' that Voigt and his Kompakt crew would explore more in the coming years, but it's contorted into a subterranean rumble, and on 'GAS 5', the producer tentatively glances trance's quivering euphoria, using reverb and delay to turn anthemic stabs into whooshing melodic rushes.
If you haven't managed to hear GAS before, this is the perfect starting point, and if you've only heard the album in its truncated form (both the CD release and the 'Nah und Fern' version were incomplete), then we've got to say this is the one.
Back in stock - First time reissue, last available in 1996, includes the original, extended version of the album, with a download of the full thing dropped to your account.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
First time reissue of Wolfgang Voigt's foundational first GAS album since its release in 1996 - it remains the archetype for so much contemporary ambient music and back-room techno, melting camouflaged German cultural references into a timeless, anthemic pulse. This new reissue is the original extended vinyl version, with definitive longer versions of the six classic tracks. Available in deluxe 3LP and single CD editions.
By the mid-'90s, techno had become the language of German youth culture, tied up in the country's long history of electronic musical innovation - from Kluster to Kraftwerk - and the revolutionary cry of reunification when the Berlin Wall fell in 1989. Based in Köln, Voigt had already put his stamp on dance music by the time he embarked on the mysterious GAS project, working alongside his brother Reinhard to help devise the sound that would evolve into minimal techno, but GAS felt different - more illusory, hypnotic.
The name, aside from accurately describing the vaporous ambience that whispers through each track, stands for Germany, Austria, Switzerland, and it was Voigt's concept to not only express the feeling of dropping acid in the Königsforst, a verdant woodland only a short drive from Köln, but to distill centuries of German music into a contemporary haze that reflected a hopeful new era. And after testing the waters with '95's Profan-released EP 'Modern', Voigt set a new benchmark with 'GAS', laying out his narrative over six long movements, the shortest of which clocks in at just under 12 minutes.
Voigt wasn't interested in making songs, exactly, but emphasizing texture, burying samples of traditional German music - from baroque to schlager - in murky drones punctuated by squashed 4/4 rhythms. Not dance music exactly, it's headphone gear that's referencing the dance canon in its shift from the US, through Jamaica and the UK to Germany. Much like the Artificial Intelligence era in the UK, it imprints the familiar cycles (pulsing kick drums, undulating soundsystem-ready basslines) with its own regional character. It's no mistake that Voigt begins with an entirely beatless composition that paints the landscape without revealing the complete palette. The album's airiest track, 'GAS 1' is a stylistic milestone - something we can hear tracking thru electronic music from then until now; just listen to Jan Jelinek, Vladislav Delay, PAN's 'Mono No Aware' comp, or anything on the West Mineral imprint. It's ambient music, but where Eno's vision was trained on an earlier era, Voigt had cut his teeth on acid house, hardcore and Detroit techno, and was able to muddle those influences with his own homegrown obsessions.
That famous, omnipresent filtered kick makes its first appearance on 'GAS 2', thudding beneath watery glitches and sweeping orchestral pads. Voigt doesn't make his concept too vivid (at least at this stage in its evolution), but the outline of classical music is there, punctured by mesmerising minimal thuds that as yet hadn't become a meme. It's not music that develops, it exists, freezing a moment in time and letting the mind pick out a scene, concentrating on the organic, shifting harmonies rather than the static beat. If acid house was all about the squelch, this was all about vapour, as sample-rich pads seem to disappear into clouds of static, blooming from the density. There's a more evident schlager-inspired swing on 'GAS 4' that Voigt and his Kompakt crew would explore more in the coming years, but it's contorted into a subterranean rumble, and on 'GAS 5', the producer tentatively glances trance's quivering euphoria, using reverb and delay to turn anthemic stabs into whooshing melodic rushes.
If you haven't managed to hear GAS before, this is the perfect starting point, and if you've only heard the album in its truncated form (both the CD release and the 'Nah und Fern' version were incomplete), then we've got to say this is the one.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
First time reissue of Wolfgang Voigt's foundational first GAS album since its release in 1996 - it remains the archetype for so much contemporary ambient music and back-room techno, melting camouflaged German cultural references into a timeless, anthemic pulse. This new reissue is the original extended vinyl version, with definitive longer versions of the six classic tracks. Available in deluxe 3LP and single CD editions.
By the mid-'90s, techno had become the language of German youth culture, tied up in the country's long history of electronic musical innovation - from Kluster to Kraftwerk - and the revolutionary cry of reunification when the Berlin Wall fell in 1989. Based in Köln, Voigt had already put his stamp on dance music by the time he embarked on the mysterious GAS project, working alongside his brother Reinhard to help devise the sound that would evolve into minimal techno, but GAS felt different - more illusory, hypnotic.
The name, aside from accurately describing the vaporous ambience that whispers through each track, stands for Germany, Austria, Switzerland, and it was Voigt's concept to not only express the feeling of dropping acid in the Königsforst, a verdant woodland only a short drive from Köln, but to distill centuries of German music into a contemporary haze that reflected a hopeful new era. And after testing the waters with '95's Profan-released EP 'Modern', Voigt set a new benchmark with 'GAS', laying out his narrative over six long movements, the shortest of which clocks in at just under 12 minutes.
Voigt wasn't interested in making songs, exactly, but emphasizing texture, burying samples of traditional German music - from baroque to schlager - in murky drones punctuated by squashed 4/4 rhythms. Not dance music exactly, it's headphone gear that's referencing the dance canon in its shift from the US, through Jamaica and the UK to Germany. Much like the Artificial Intelligence era in the UK, it imprints the familiar cycles (pulsing kick drums, undulating soundsystem-ready basslines) with its own regional character. It's no mistake that Voigt begins with an entirely beatless composition that paints the landscape without revealing the complete palette. The album's airiest track, 'GAS 1' is a stylistic milestone - something we can hear tracking thru electronic music from then until now; just listen to Jan Jelinek, Vladislav Delay, PAN's 'Mono No Aware' comp, or anything on the West Mineral imprint. It's ambient music, but where Eno's vision was trained on an earlier era, Voigt had cut his teeth on acid house, hardcore and Detroit techno, and was able to muddle those influences with his own homegrown obsessions.
That famous, omnipresent filtered kick makes its first appearance on 'GAS 2', thudding beneath watery glitches and sweeping orchestral pads. Voigt doesn't make his concept too vivid (at least at this stage in its evolution), but the outline of classical music is there, punctured by mesmerising minimal thuds that as yet hadn't become a meme. It's not music that develops, it exists, freezing a moment in time and letting the mind pick out a scene, concentrating on the organic, shifting harmonies rather than the static beat. If acid house was all about the squelch, this was all about vapour, as sample-rich pads seem to disappear into clouds of static, blooming from the density. There's a more evident schlager-inspired swing on 'GAS 4' that Voigt and his Kompakt crew would explore more in the coming years, but it's contorted into a subterranean rumble, and on 'GAS 5', the producer tentatively glances trance's quivering euphoria, using reverb and delay to turn anthemic stabs into whooshing melodic rushes.
If you haven't managed to hear GAS before, this is the perfect starting point, and if you've only heard the album in its truncated form (both the CD release and the 'Nah und Fern' version were incomplete), then we've got to say this is the one.
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