Gas - Gas

shapeshifter, May 25, 2003

Pop music albums as radical as the first album of Wolfgang Voigts project GAS are scarce. Comparable extremes coming to mind are Napalm Deaths "Scum", the self-proclaimed "end of music as we know it" by virtue of being the fastest music ever released on a commercial CD, or Earths "Earth 2" for being the slowest.

"GAS" is also excessively slow; simply put, its drone music. In the first track, all your ear can latch on to is a few heavily down-tuned, backwards-played samples of Disco guitar. But actually it took me a backwards playback at 75 rpm to discover that. The resulting texture is so smooth, soothing, subdued, it can almost be felt as a physical presence in the room. And contrary to New Age musics that try to achieve that effect through big production and effects claptrap, "GAS" shines with a very moderate production, the worst thing about this being the frequent clicks as artifacts of sample editing, the best being that it will sound great on any system, at any volume, at any time of the day.

Its interesting to look at the development of GAS sound. The debut EP on Profan contained four tracks that were very different from each other (more on that to come in a seperate review). The self-titled album takes up where the EP ended, with a very plastic-y and synthetic sound: track 1 is an enlengthened, reduced version of the EPs track 4; track 2 is basically track 1 with a beat added; etc... the whole album basically is a handful ideas stretched out to a whopping (actually, soothing) 77 minutes. All Later GAS albums (I followed through until 2000s "Pop") sounded very different from it, mostly deploying samples from classical music like Schoenberg and Wagner, so "GAS" remains unique and unchallenged to this day.

The album is usually put into the "ambient" drawer. I dont know... Okay, the term "ambient" itself has become pretty vague by today, but the synthetic, monotonous "GAS" is the complete opposite of the sountrack-ish and, well, ambient quality of classics like Enos "Music For Airports". Its far more abstract (not structurally, but as in "the contrary of concrete, recognizable, image-evoking sound material") and, forgive me, musical than that. When I last read an interview with Wolfgang Voigt in 1999, he insisted that all of his music would be seen simply as pop, and as strange and radical as "GAS" may appear, Voigts claim makes sense.

Was the above review useful to you? Yes  No  (report)