Gas ‎– Gas

Mille Plateaux ‎– MP CD 32
CD, Album


1 Untitled 10:30
2 Untitled 13:43
3 Untitled 14:29
4 Untitled 11:11
5 Untitled 13:34
6 Untitled 13:30

Companies, etc.


Barcode and Other Identifiers

  • Barcode (Text): 7 1875-00682-2 4
  • Barcode: 718750068224
  • Rights Society: GEMA
  • Label Code: LC 6001
  • Matrix / Runout (Var. 1): BOD FORC MP 32
  • Mastering SID Code (Var. 1): IFPI L357
  • Mould SID Code (Var. 1): IFPI 5208
  • Matrix / Runout (Var. 2): BOD FORC MP 32
  • Mastering SID Code (Var. 2): IFPI L357
  • Mould SID Code (Var. 2): IFPI 5227
  • Matrix / Runout (Var. 3): BOD FORC MP 32
  • Mastering SID Code (Var 3.): IFPI L357
  • Mould SID Code (Var. 3): IFPI 5221

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
MP 032 LP Gas Gas(3xLP, Album) Mille Plateaux MP 032 LP Germany 1996 Sell This Version
MP 32 Gas Gas(3xLP, Album, W/Lbl) Mille Plateaux MP 32 Germany 1996 Sell This Version


Reviews Show All 5 Reviews

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October 30, 2020
edited about 1 month ago
After years of listening to all the GAS albums, and EPs, this first LP really stands out amongst the artist’s full Sonic cannon. To be sure, Königsforst remains my personal favorite, but this lp really holds up and plays like the blueprint in which all of Wolfgang’s later releases borrow from. In particular, there is a droning quality that is often present within GAS releases, but is of a particular melt-your-face quality on this release. There is a grit and thump that is unique to this album and for all fans of GAS, this is an album that must be added to one’s collection.

Lastly, track E is exceptionally beautiful and takes the listener on a soaring journey that is visual with eyes open or closed.


April 25, 2020
if this isn't gonna get a full 3lp repress, it at least deserves a digital release (the vinyl mixes specifically)


May 25, 2003
Pop music albums as radical as the first album of Wolfgang Voigt's project GAS are scarce. Comparable extremes coming to mind are Napalm Death's "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 Earth's "Earth 2" for being the slowest.

"GAS" is also excessively slow; simply put, it's 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.

It's 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 EP's 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 2000's "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 don't 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 Eno's "Music For Airports". It's 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, Voigt's claim makes sense.