Gajek
Restless Shapes
Boomkat Product Review:
"After Chris Clark had passed some of Gajeks sheer endless output over to Modeselektor, quite a few listening sessions followed. Ranging from postrocky electronica to complex and moody renderings of intricate introverted beat structures to a mutant dance music, a whole audioscape had to be discovered. There were songs and tracks and experiments there, morphed vocals and reverberated non human instruments, complex percussion patterns and sweet athmospheres, but in all these different paths and moods, a penchant for working with a leitmotif could be traced. As an introduction to expose his particular working method, a concept minialbum was carefully crafted. Filled with 21 short tracks circling around 3 main motifs this record lays bare one of Monkeytown's new artists main strengths. The creation of a soundscape that explores a notion of something athmospheric hidden away under the material of the zeitgeist. Working with variations of rythmic elements it seems like the 3 parts of this album tell very short but intricately entwined stories equal to the miniature worlds contained in snow globes. They contain references to their larger musical counterparts in Gajeks other works, but shaken and stirred and sometimes snowed under. One is quickly drawn into this music, challenged to find the thread and follow it into its different outfits and scenarios. The first complex entitled "Curved Engines" evolves around a major scale played over two octaves with the exclusion of a few notes. Its friendly and simple melody is examined in every possible direction almost like a classical minimalist piano piece. The second one "Restless Water Shapes" explores a repetitive rythmic pattern, which is evolving over the course of its 8 parts, sometimes reminiscent of early Autechre, but combined with a more jazz based approach. On its course, the pattern morphs from being played on actual percussions, to drony pads and sirens synthesized from vocals until it breaks into actual composed pieces on track 9, 12 and 14. Here, various of the afore-heard elements come together and form moments of extreme beauty and calmness while challenging the listener to come closer, hear more, better, finer. Complex 3 "Moving Glasses" starts like an overture to a digital "Zarathustra". Synthezised arpeggios sounding like a muted bamboo - harpsichord are interrupted by a syncopated beat swinging in an upside down gesture like an exclamation mark. Some of the elements of the former complexes appear, culminating in a more orchestrated apparel. Where the other parts explore a musical structure this one is devoted to (a) form. This form could be called „electronic dance music“, if this expression wasnt already taken for the cheap mainstream rendering of auto tuned four to the floor. In a different speak one could also say "almost techno". "Moving Glasses" offers the most apparent references to club - music in its various forms ranging from hip hop to techno but also finding its way back to ambient and electronica. You can consume this album without paying attention to the „concept“ part of it, no worries, it is a masterfully crafted piece of intelligent electronica that is as pleasant to listen to, as it is thought though. But you can also dig deep and let yourself be amazed by the mindgames of this young producer, who is by the way also just gaining his "Meisterschüler" in the visual arts. His idiosyncratic mastery of music however was obtained autodidactically. And that makes the beauty of it."
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Boomkat Product Review:
"After Chris Clark had passed some of Gajeks sheer endless output over to Modeselektor, quite a few listening sessions followed. Ranging from postrocky electronica to complex and moody renderings of intricate introverted beat structures to a mutant dance music, a whole audioscape had to be discovered. There were songs and tracks and experiments there, morphed vocals and reverberated non human instruments, complex percussion patterns and sweet athmospheres, but in all these different paths and moods, a penchant for working with a leitmotif could be traced. As an introduction to expose his particular working method, a concept minialbum was carefully crafted. Filled with 21 short tracks circling around 3 main motifs this record lays bare one of Monkeytown's new artists main strengths. The creation of a soundscape that explores a notion of something athmospheric hidden away under the material of the zeitgeist. Working with variations of rythmic elements it seems like the 3 parts of this album tell very short but intricately entwined stories equal to the miniature worlds contained in snow globes. They contain references to their larger musical counterparts in Gajeks other works, but shaken and stirred and sometimes snowed under. One is quickly drawn into this music, challenged to find the thread and follow it into its different outfits and scenarios. The first complex entitled "Curved Engines" evolves around a major scale played over two octaves with the exclusion of a few notes. Its friendly and simple melody is examined in every possible direction almost like a classical minimalist piano piece. The second one "Restless Water Shapes" explores a repetitive rythmic pattern, which is evolving over the course of its 8 parts, sometimes reminiscent of early Autechre, but combined with a more jazz based approach. On its course, the pattern morphs from being played on actual percussions, to drony pads and sirens synthesized from vocals until it breaks into actual composed pieces on track 9, 12 and 14. Here, various of the afore-heard elements come together and form moments of extreme beauty and calmness while challenging the listener to come closer, hear more, better, finer. Complex 3 "Moving Glasses" starts like an overture to a digital "Zarathustra". Synthezised arpeggios sounding like a muted bamboo - harpsichord are interrupted by a syncopated beat swinging in an upside down gesture like an exclamation mark. Some of the elements of the former complexes appear, culminating in a more orchestrated apparel. Where the other parts explore a musical structure this one is devoted to (a) form. This form could be called „electronic dance music“, if this expression wasnt already taken for the cheap mainstream rendering of auto tuned four to the floor. In a different speak one could also say "almost techno". "Moving Glasses" offers the most apparent references to club - music in its various forms ranging from hip hop to techno but also finding its way back to ambient and electronica. You can consume this album without paying attention to the „concept“ part of it, no worries, it is a masterfully crafted piece of intelligent electronica that is as pleasant to listen to, as it is thought though. But you can also dig deep and let yourself be amazed by the mindgames of this young producer, who is by the way also just gaining his "Meisterschüler" in the visual arts. His idiosyncratic mastery of music however was obtained autodidactically. And that makes the beauty of it."
Boomkat Product Review:
"After Chris Clark had passed some of Gajeks sheer endless output over to Modeselektor, quite a few listening sessions followed. Ranging from postrocky electronica to complex and moody renderings of intricate introverted beat structures to a mutant dance music, a whole audioscape had to be discovered. There were songs and tracks and experiments there, morphed vocals and reverberated non human instruments, complex percussion patterns and sweet athmospheres, but in all these different paths and moods, a penchant for working with a leitmotif could be traced. As an introduction to expose his particular working method, a concept minialbum was carefully crafted. Filled with 21 short tracks circling around 3 main motifs this record lays bare one of Monkeytown's new artists main strengths. The creation of a soundscape that explores a notion of something athmospheric hidden away under the material of the zeitgeist. Working with variations of rythmic elements it seems like the 3 parts of this album tell very short but intricately entwined stories equal to the miniature worlds contained in snow globes. They contain references to their larger musical counterparts in Gajeks other works, but shaken and stirred and sometimes snowed under. One is quickly drawn into this music, challenged to find the thread and follow it into its different outfits and scenarios. The first complex entitled "Curved Engines" evolves around a major scale played over two octaves with the exclusion of a few notes. Its friendly and simple melody is examined in every possible direction almost like a classical minimalist piano piece. The second one "Restless Water Shapes" explores a repetitive rythmic pattern, which is evolving over the course of its 8 parts, sometimes reminiscent of early Autechre, but combined with a more jazz based approach. On its course, the pattern morphs from being played on actual percussions, to drony pads and sirens synthesized from vocals until it breaks into actual composed pieces on track 9, 12 and 14. Here, various of the afore-heard elements come together and form moments of extreme beauty and calmness while challenging the listener to come closer, hear more, better, finer. Complex 3 "Moving Glasses" starts like an overture to a digital "Zarathustra". Synthezised arpeggios sounding like a muted bamboo - harpsichord are interrupted by a syncopated beat swinging in an upside down gesture like an exclamation mark. Some of the elements of the former complexes appear, culminating in a more orchestrated apparel. Where the other parts explore a musical structure this one is devoted to (a) form. This form could be called „electronic dance music“, if this expression wasnt already taken for the cheap mainstream rendering of auto tuned four to the floor. In a different speak one could also say "almost techno". "Moving Glasses" offers the most apparent references to club - music in its various forms ranging from hip hop to techno but also finding its way back to ambient and electronica. You can consume this album without paying attention to the „concept“ part of it, no worries, it is a masterfully crafted piece of intelligent electronica that is as pleasant to listen to, as it is thought though. But you can also dig deep and let yourself be amazed by the mindgames of this young producer, who is by the way also just gaining his "Meisterschüler" in the visual arts. His idiosyncratic mastery of music however was obtained autodidactically. And that makes the beauty of it."
Available To Order (Estimated Shipping between 1-3 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:
"After Chris Clark had passed some of Gajeks sheer endless output over to Modeselektor, quite a few listening sessions followed. Ranging from postrocky electronica to complex and moody renderings of intricate introverted beat structures to a mutant dance music, a whole audioscape had to be discovered. There were songs and tracks and experiments there, morphed vocals and reverberated non human instruments, complex percussion patterns and sweet athmospheres, but in all these different paths and moods, a penchant for working with a leitmotif could be traced. As an introduction to expose his particular working method, a concept minialbum was carefully crafted. Filled with 21 short tracks circling around 3 main motifs this record lays bare one of Monkeytown's new artists main strengths. The creation of a soundscape that explores a notion of something athmospheric hidden away under the material of the zeitgeist. Working with variations of rythmic elements it seems like the 3 parts of this album tell very short but intricately entwined stories equal to the miniature worlds contained in snow globes. They contain references to their larger musical counterparts in Gajeks other works, but shaken and stirred and sometimes snowed under. One is quickly drawn into this music, challenged to find the thread and follow it into its different outfits and scenarios. The first complex entitled "Curved Engines" evolves around a major scale played over two octaves with the exclusion of a few notes. Its friendly and simple melody is examined in every possible direction almost like a classical minimalist piano piece. The second one "Restless Water Shapes" explores a repetitive rythmic pattern, which is evolving over the course of its 8 parts, sometimes reminiscent of early Autechre, but combined with a more jazz based approach. On its course, the pattern morphs from being played on actual percussions, to drony pads and sirens synthesized from vocals until it breaks into actual composed pieces on track 9, 12 and 14. Here, various of the afore-heard elements come together and form moments of extreme beauty and calmness while challenging the listener to come closer, hear more, better, finer. Complex 3 "Moving Glasses" starts like an overture to a digital "Zarathustra". Synthezised arpeggios sounding like a muted bamboo - harpsichord are interrupted by a syncopated beat swinging in an upside down gesture like an exclamation mark. Some of the elements of the former complexes appear, culminating in a more orchestrated apparel. Where the other parts explore a musical structure this one is devoted to (a) form. This form could be called „electronic dance music“, if this expression wasnt already taken for the cheap mainstream rendering of auto tuned four to the floor. In a different speak one could also say "almost techno". "Moving Glasses" offers the most apparent references to club - music in its various forms ranging from hip hop to techno but also finding its way back to ambient and electronica. You can consume this album without paying attention to the „concept“ part of it, no worries, it is a masterfully crafted piece of intelligent electronica that is as pleasant to listen to, as it is thought though. But you can also dig deep and let yourself be amazed by the mindgames of this young producer, who is by the way also just gaining his "Meisterschüler" in the visual arts. His idiosyncratic mastery of music however was obtained autodidactically. And that makes the beauty of it."
Available To Order (Estimated Shipping between 1-3 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:
"After Chris Clark had passed some of Gajeks sheer endless output over to Modeselektor, quite a few listening sessions followed. Ranging from postrocky electronica to complex and moody renderings of intricate introverted beat structures to a mutant dance music, a whole audioscape had to be discovered. There were songs and tracks and experiments there, morphed vocals and reverberated non human instruments, complex percussion patterns and sweet athmospheres, but in all these different paths and moods, a penchant for working with a leitmotif could be traced. As an introduction to expose his particular working method, a concept minialbum was carefully crafted. Filled with 21 short tracks circling around 3 main motifs this record lays bare one of Monkeytown's new artists main strengths. The creation of a soundscape that explores a notion of something athmospheric hidden away under the material of the zeitgeist. Working with variations of rythmic elements it seems like the 3 parts of this album tell very short but intricately entwined stories equal to the miniature worlds contained in snow globes. They contain references to their larger musical counterparts in Gajeks other works, but shaken and stirred and sometimes snowed under. One is quickly drawn into this music, challenged to find the thread and follow it into its different outfits and scenarios. The first complex entitled "Curved Engines" evolves around a major scale played over two octaves with the exclusion of a few notes. Its friendly and simple melody is examined in every possible direction almost like a classical minimalist piano piece. The second one "Restless Water Shapes" explores a repetitive rythmic pattern, which is evolving over the course of its 8 parts, sometimes reminiscent of early Autechre, but combined with a more jazz based approach. On its course, the pattern morphs from being played on actual percussions, to drony pads and sirens synthesized from vocals until it breaks into actual composed pieces on track 9, 12 and 14. Here, various of the afore-heard elements come together and form moments of extreme beauty and calmness while challenging the listener to come closer, hear more, better, finer. Complex 3 "Moving Glasses" starts like an overture to a digital "Zarathustra". Synthezised arpeggios sounding like a muted bamboo - harpsichord are interrupted by a syncopated beat swinging in an upside down gesture like an exclamation mark. Some of the elements of the former complexes appear, culminating in a more orchestrated apparel. Where the other parts explore a musical structure this one is devoted to (a) form. This form could be called „electronic dance music“, if this expression wasnt already taken for the cheap mainstream rendering of auto tuned four to the floor. In a different speak one could also say "almost techno". "Moving Glasses" offers the most apparent references to club - music in its various forms ranging from hip hop to techno but also finding its way back to ambient and electronica. You can consume this album without paying attention to the „concept“ part of it, no worries, it is a masterfully crafted piece of intelligent electronica that is as pleasant to listen to, as it is thought though. But you can also dig deep and let yourself be amazed by the mindgames of this young producer, who is by the way also just gaining his "Meisterschüler" in the visual arts. His idiosyncratic mastery of music however was obtained autodidactically. And that makes the beauty of it."
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