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GAS

GAS

GAS

Kompakt

€14,00

Tax included.

OUVIR / LISTEN:
CLIP1 - CLIP2 - CLIP3 - CLIP4 - CLIP5

O disco onde tudo começou. Reza a lenda que uma trip de ácido numa floresta na Baviera inspirou a criação de Gas, o que faz todo o sentido. Há aqui uma serenidade própria da música ambiental, mas longe dos vícios da New Age. Controlado, cuidado, sério e astuto, os loops ambientais são psicadélicos, de polifonia estudada e regrada, com contornos que chegam a uma melancolia honesta, algo que não costuma ser tão comum neste tipo de música. A primeira e as últimas faixas do álbum são exemplo disso - longos mares lisérgicos onde até os graves têm histórias para contar. Pelo meio, nas outras faixas, o seguimento da linhagem Dub Techno, com grooves minimalistas de caixas de ritmos a empurrarem para diante as ondas coloridas e vivazes que Wolfgang Voigt faz erguer. Não nos lembramos de outros discos de Gas terem este carácter tão "dubbed out" e tão ancorado à música de Berlim, mas pode ser a nossa memória a pregar partidas. É o primeiro na discografia de Gas, mas é um disco que toca como se quem o tivesse feito já andasse nisto há uma vida inteira - há experiências e lições em cada textura rugosa destas ondas de som. Disco lindo, cheio de cor, vida e camadas para desfolhar e deleitar. Um clássico quase olvidado, originalmente na Mille Plateaux, agora recuperado pela Kompakt. Podemos abusar das palavras "obrigatório", "essencial", "imperdível". Este é tudo isso e muito mais. Ouvir para crer. Alucinações sónicas puras. 

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"Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project. There had, of course, been signs of what was to come. Back in 1995, Voigt essayed the first Gas release, a slender, yet remarkable four-track EP, Modern. Its centre label featured a reduced symbol – an overhead or lamp light, switched on, its glow radiating outwards in four bold black lines – a perfect representation of the tight, stylised ambient electronic pop contained on that 12”. A few curious compilation tracks were floating around, too, for Mille Plateaux’s Modulation & Transformation and Electric Ladyland series. If you were attentive enough, you could tell something was up. But nothing quite prepared us for the languorous, effervescing loops and regular-like-clockwork beats that Voigt folded together on GAS. Its six long tracks, all untitled, neither begin nor end but hazily fade into earshot, vibrate majestically in your cochlea for fifteen-or-so minutes – some a bit shorter, some longer – and then meander away, reading the mise-en-scène for the next example of Voigt’s drift and dream logic to unfold. The material is referential in the most distant way, and you can sense only the most evanescent of ghostly presences, haunting these six compositions. GAS feels, also, like a more pliable hint at what’s to come, as the GAS concept really solidified on its successor, 1997’s Zauberberg, and reach its apotheosis on Königsforst and Pop. Those three albums share a very similar palette – blurred, hazy samples, often of classical music, stacked and cross-thatched across a muted 4/4 thud. GAS, then, is an outlier of sorts: it’s more expansive in its remit, lighter in its mood, perhaps more fleet of foot. This, of course, is part of its charm. In clearing space for Voigt, by preparing the terrain, GAS sits both at the edge of the forest, and at the verge of an expansive, wide-eyed future; one where GAS would become truly eternal." (Label PR)