John T. Gast
Submerge (2013)
Boomkat Product Review:
JTG’s dead early and limited CDr (100 copies) resurfaces to survey a raw cross section of his formative styles, post work with Hype Williams and circa his 2013 emergence on the Men Scryfa label
Now regarded among the most enigmatic in his field of electro-dub-mysticism and chthonic chamber music, John T. Gast is keenly watched around our ends. His 2013 album lays out a wickedly confounding and captivating entry portal to his sound, omnivorously drawing from myriad aspects of gunky hypnonoise, UK soundsystem relics, pulpy soundtrack music and avant-classical nous to send heads reeling into deep space or the dank side of the bucket.
Landing somewhere between the UK’s answer to James Ferraro, albeit raised on new age rave, and a druid dialled up from the dork ages, JTG brilliantly conflates and warps styles with his own brand of mediative melodies and a style of finely finessed drum programming that surely comes from many hours spent in the shadows of shuddering speaker stacks. Bilgy noise in ‘drudgery’ gives way to proper steppers’ pressure on ‘inna perfekt’ and its R&B variant ‘the blessing’, with ‘wmb’ moving shades away from Dean Blunt classics, while he makes room for his wildest noumena in the likes of of his ‘fugue’ parts and a dramatic hybrid of kosmiche, Italian prog and collage in ‘german subs.’
A lowkey masterclass in not playing it straight or easily quantifiable, but with play it again appeal.
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Boomkat Product Review:
JTG’s dead early and limited CDr (100 copies) resurfaces to survey a raw cross section of his formative styles, post work with Hype Williams and circa his 2013 emergence on the Men Scryfa label
Now regarded among the most enigmatic in his field of electro-dub-mysticism and chthonic chamber music, John T. Gast is keenly watched around our ends. His 2013 album lays out a wickedly confounding and captivating entry portal to his sound, omnivorously drawing from myriad aspects of gunky hypnonoise, UK soundsystem relics, pulpy soundtrack music and avant-classical nous to send heads reeling into deep space or the dank side of the bucket.
Landing somewhere between the UK’s answer to James Ferraro, albeit raised on new age rave, and a druid dialled up from the dork ages, JTG brilliantly conflates and warps styles with his own brand of mediative melodies and a style of finely finessed drum programming that surely comes from many hours spent in the shadows of shuddering speaker stacks. Bilgy noise in ‘drudgery’ gives way to proper steppers’ pressure on ‘inna perfekt’ and its R&B variant ‘the blessing’, with ‘wmb’ moving shades away from Dean Blunt classics, while he makes room for his wildest noumena in the likes of of his ‘fugue’ parts and a dramatic hybrid of kosmiche, Italian prog and collage in ‘german subs.’
A lowkey masterclass in not playing it straight or easily quantifiable, but with play it again appeal.
Boomkat Product Review:
JTG’s dead early and limited CDr (100 copies) resurfaces to survey a raw cross section of his formative styles, post work with Hype Williams and circa his 2013 emergence on the Men Scryfa label
Now regarded among the most enigmatic in his field of electro-dub-mysticism and chthonic chamber music, John T. Gast is keenly watched around our ends. His 2013 album lays out a wickedly confounding and captivating entry portal to his sound, omnivorously drawing from myriad aspects of gunky hypnonoise, UK soundsystem relics, pulpy soundtrack music and avant-classical nous to send heads reeling into deep space or the dank side of the bucket.
Landing somewhere between the UK’s answer to James Ferraro, albeit raised on new age rave, and a druid dialled up from the dork ages, JTG brilliantly conflates and warps styles with his own brand of mediative melodies and a style of finely finessed drum programming that surely comes from many hours spent in the shadows of shuddering speaker stacks. Bilgy noise in ‘drudgery’ gives way to proper steppers’ pressure on ‘inna perfekt’ and its R&B variant ‘the blessing’, with ‘wmb’ moving shades away from Dean Blunt classics, while he makes room for his wildest noumena in the likes of of his ‘fugue’ parts and a dramatic hybrid of kosmiche, Italian prog and collage in ‘german subs.’
A lowkey masterclass in not playing it straight or easily quantifiable, but with play it again appeal.
Boomkat Product Review:
JTG’s dead early and limited CDr (100 copies) resurfaces to survey a raw cross section of his formative styles, post work with Hype Williams and circa his 2013 emergence on the Men Scryfa label
Now regarded among the most enigmatic in his field of electro-dub-mysticism and chthonic chamber music, John T. Gast is keenly watched around our ends. His 2013 album lays out a wickedly confounding and captivating entry portal to his sound, omnivorously drawing from myriad aspects of gunky hypnonoise, UK soundsystem relics, pulpy soundtrack music and avant-classical nous to send heads reeling into deep space or the dank side of the bucket.
Landing somewhere between the UK’s answer to James Ferraro, albeit raised on new age rave, and a druid dialled up from the dork ages, JTG brilliantly conflates and warps styles with his own brand of mediative melodies and a style of finely finessed drum programming that surely comes from many hours spent in the shadows of shuddering speaker stacks. Bilgy noise in ‘drudgery’ gives way to proper steppers’ pressure on ‘inna perfekt’ and its R&B variant ‘the blessing’, with ‘wmb’ moving shades away from Dean Blunt classics, while he makes room for his wildest noumena in the likes of of his ‘fugue’ parts and a dramatic hybrid of kosmiche, Italian prog and collage in ‘german subs.’
A lowkey masterclass in not playing it straight or easily quantifiable, but with play it again appeal.
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