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2LP
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KOM 388LP
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$27.50
PREORDER
RELEASE DATE: 9/7/2018
Double LP version. Los Lagos is Thomas Fehlmann's seventh solo full-length, and his fourth for Kompakt following his Berlin-inspired 2010 album Gute Luft (KOMP 081CD/211LP). In the musician's own words, it's about "checking the juice". Establishing a picture of his current artistic condition, as suggested by the title -- (Los Lagos literally translates to "the lakes" but takes the meaning of "wassup" in the context of a relaxed discussion between friends), the album refers to Fehlmann's motivations of late. It is, he says, a way to "allow myself to techno, as a means to deconstruction and rebuilding. Set up an area of tension, then lose it in the flow of the grooves, magnifying some details out of proportion, regrouping around those and slowly knitting a texture." This the decision Thomas Fehlmann has made. At 61, he is a longstanding member of The Orb, a multi-talented composer and a boundless experimentalist. In the twilight of his collaboration with Alex Paterson, he was eager to taste the flavors of the unknown again. As goes with that essential love of his for the free-flowing nature of electronic music, this is a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, and experimenting with an unpredictable outcome"; Los Lagos "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk; as he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective. He is not afraid to leap from a deep, dubbed-out hypnotism to the playfulness of '90s-style bleepy schaffel, such as on "Tempelhof", which features a guest spot from Max Loderbauer. There are also out-there, muscle-flexing dancefloor cuts and the calmness of the ambient. In need of keeping his inner balance in check, Fehlmann committed himself to following his intuition, which isn't so much of an easy process as he also wanted to incorporate the disturbances which he has experienced. "It's a complex process of search and destroy to bring out a new beauty to expand my vocabulary". Fehlmann looked at finding "the structure that's surprising, disturbing, and rewarding". The artwork for the record, courtesy of Albert Oehlen echoes the producer's "funky use of shape and space" like a second skin. To wit, Los Lagos is a search for light and harmony that Fehlmann sums up simply as the answer to the question, "Does your inner musical voice respond?"
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CD
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KOMP 148CD
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$15.50
PREORDER
RELEASE DATE: 9/7/2018
Los Lagos is Thomas Fehlmann's seventh solo full-length, and his fourth for Kompakt following his Berlin-inspired 2010 album Gute Luft (KOMP 081CD/211LP). In the musician's own words, it's about "checking the juice". Establishing a picture of his current artistic condition, as suggested by the title -- (Los Lagos literally translates to "the lakes" but takes the meaning of "wassup" in the context of a relaxed discussion between friends), the album refers to Fehlmann's motivations of late. It is, he says, a way to "allow myself to techno, as a means to deconstruction and rebuilding. Set up an area of tension, then lose it in the flow of the grooves, magnifying some details out of proportion, regrouping around those and slowly knitting a texture." This the decision Thomas Fehlmann has made. At 61, he is a longstanding member of The Orb, a multi-talented composer and a boundless experimentalist. In the twilight of his collaboration with Alex Paterson, he was eager to taste the flavors of the unknown again. As goes with that essential love of his for the free-flowing nature of electronic music, this is a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, and experimenting with an unpredictable outcome"; Los Lagos "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk; as he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective. He is not afraid to leap from a deep, dubbed-out hypnotism to the playfulness of '90s-style bleepy schaffel, such as on "Tempelhof", which features a guest spot from Max Loderbauer. There are also out-there, muscle-flexing dancefloor cuts and the calmness of the ambient. In need of keeping his inner balance in check, Fehlmann committed himself to following his intuition, which isn't so much of an easy process as he also wanted to incorporate the disturbances which he has experienced. "It's a complex process of search and destroy to bring out a new beauty to expand my vocabulary". Fehlmann looked at finding "the structure that's surprising, disturbing, and rewarding". The artwork for the record, courtesy of Albert Oehlen echoes the producer's "funky use of shape and space" like a second skin. To wit, Los Lagos is a search for light and harmony that Fehlmann sums up simply as the answer to the question, "Does your inner musical voice respond?"
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2LP
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KOM 390LP
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$27.50
PREORDER
RELEASE DATE: 8/24/2018
Double LP version. Includes download card. Ideas call for realization, realizations turn into habits, habits then quickly turn into traditions, and traditions become an intrinsic part of culture. Born at the turn of the new millennium as a symbol of a new era for electronic music, Kompakt's longstanding Total series returns with its 18th iteration, the essentials of the label's releases over 2017 and 2018, a period of intense activity, and extended breadth of resources, blowing out its 25th birthday candle with the breath of a young, throbbing heart. Introducing faces new and familiar, full-scale hits and criminally overlooked tunes, Total 18 recollects glorious moments on the dancefloor and further intimate ones between friends, inviting the listener to flick through a family album marked with tracks as distant yet eerily close as Sonns highly sensual "Tame" and John Tejada's propulsive "Detector", Terranova's elegiac "Let It Fail" and Rex The Dog's mind-altering "Crasher" but also, and as usual, its lot of unreleased cuts. With a handful exclusive deliveries courtesy of label co-founder Jürgen Paape -- here making a rare appearance with the humbly-titled opener "Well It's Paape", &nd's one-and-only Aaron Ahrends with the nostalgic "Eyes Closed", Tobias Thomas and Michael Mayer as Thomas/Mayer, Lebsanft & Raquet and the poetic synthesis of "Signale", Cologne figure Jörg Burger on electro-punk-wave mode, minimal Danish talent Christian Nielsen and Voigt & Voigt for a session of left-of-center techno, Total 18 sweeps the spectrum back and forth, navigating from the deeper umbra onto the brighter shades seamlessly. Total 18 moves and shifts, from the power of dancefloor-oriented pieces such as Tom Demac & Real Lies' "White Flowers" (here presented in its house version), Dixon's silky revamp of Vermont and Gui Boratto's euphoric club weapon "Forgive Me" onto the funky electro pop flavors of Fahrland, cosmic dub-tech jazz of Ghost Vision, and robot bounce of T.Raumschmiere's "Augen Zu" for a whelming tour d'horizon. Double-LP version features: Aaron Ahrends, Thomas/Mayer, Geiger, Jürgen Paape, Christian Nielsen, Voigt & Voigt, Jörg Burger, and Lebsanft & Raquet. Double LP version includes download card with complete download.
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2CD
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KOMP 147CD
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$15.50
PREORDER
RELEASE DATE: 8/24/2018
Ideas call for realization, realizations turn into habits, habits then quickly turn into traditions, and traditions become an intrinsic part of culture. Born at the turn of the new millennium as a symbol of a new era for electronic music, Kompakt's longstanding Total series returns with its 18th iteration, the essentials of the label's releases over 2017 and 2018, a period of intense activity, and extended breadth of resources, blowing out its 25th birthday candle with the breath of a young, throbbing heart. Introducing faces new and familiar, full-scale hits and criminally overlooked tunes, Total 18 recollects glorious moments on the dancefloor and further intimate ones between friends, inviting the listener to flick through a family album marked with tracks as distant yet eerily close as Sonns highly sensual "Tame" and John Tejada's propulsive "Detector", Terranova's elegiac "Let It Fail" and Rex The Dog's mind-altering "Crasher" but also, and as usual, its lot of unreleased cuts. With a handful exclusive deliveries courtesy of label co-founder Jürgen Paape -- here making a rare appearance with the humbly-titled opener "Well It's Paape", &nd's one-and-only Aaron Ahrends with the nostalgic "Eyes Closed", Tobias Thomas and Michael Mayer as Thomas/Mayer, Lebsanft & Raquet and the poetic synthesis of "Signale", Cologne figure Jörg Burger on electro-punk-wave mode, minimal Danish talent Christian Nielsen and Voigt & Voigt for a session of left-of-center techno, Total 18 sweeps the spectrum back and forth, navigating from the deeper umbra onto the brighter shades seamlessly. Total 18 moves and shifts, from the power of dancefloor-oriented pieces such as Tom Demac & Real Lies' "White Flowers" (here presented in its house version), Dixon's silky revamp of Vermont and Gui Boratto's euphoric club weapon "Forgive Me" onto the funky electro pop flavors of Fahrland, cosmic dub-tech jazz of Ghost Vision, and robot bounce of T.Raumschmiere's "Augen Zu" for a whelming tour d'horizon. CD version features: Jürgen Paape, Sonns, Beesh, Tom Demac & Real Lies, Aaron Ahrends, Thomas/Mayer, Terranova, Sifa & Ivory, John Tejada, Anii, Vermont, Dixon, La Marine, Fahrland, MZ Sunday Luv, Lebsanft & Raquet, Jono Ma & Dreems, Jörg Burger, Rex The Dog, Gui Boratto, Christian Nielsen, ANNA, T.Raumschmiere, Voigt & Voigt, Animal Print, Kölsch, Enzo Elia & Musumeci, Marc Romboy, and Ghost Vision.
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12"
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KOM EX104EP
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Kompakt celebrate 25 years with a split 12" featuring two heroes of the "neat and tidy bass drum culture", T.Raumschmiere, aka Marco Haas, and Reinhard Voigt. With "Drei Millionen Kölsch", Voigt continues to establish his savvy "way into sound", which he's pursued by turning genre clichés into a defiant mix of the deepness of a lonesome cowboy and his implicit faith in the dancefloor. "Augen Zu" by T.Raumschmiere is one of the most beautiful masterpieces of bass-heavy "Umta Umta" techno. A few strikingly brilliant vocal lines from the master himself, combined with a relentless sequencer says it all.
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2LP
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KOM 387LP
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Double LP version. Gui Boratto's breakthrough full-length debut Chromophobia was released in 2007 (KOMP 056CD/KOM 152LP). As to what its title suggests, he shook up the techno game with a contrast of lushly colored minimal grooves and melody. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio album, Pentagram. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar -- including the return of "Beautiful Life" vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload". Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, "The Walker" -- hot on the trail of Tears For Fears Elemental (1993), one of Boratto's "favourite 80's bands" -- to the hi-NRG euphoria of "Forgotten" and its pounding tech alter ego "Forgive Me". "I was going into two different directions", Boratto says; "the typical 'indie- electronic-rock' Boratto kind of production like 'It's Majik' or 'Like You' and a much more techno approach." The Brazilian producer further embraces the pop-friendly essence of his past work on tracks like "The Phoenix", featuring vocalist Nathan Berger, and "Overload", both melding acidulous synth lines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer "618" duration accidentally happens to equate the proportions of the said pentagram. "Coincidence?" Boratto questions, and capsulizes, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the Brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work." Whereas "Spur" (a field-tested 808 and 909-heavy "purist track") and "Alcazar" are sheer smooth-edged four-to-the-floor epics, the album also shares its lot of startling moments, such as with the John Barry-esque "Scene 2" and its refined string-laden buildup; or with "Hallucination" (feat B.T.), and the further James Holden-ish title-track "Pentagram". Pentagram, in its entirety, is alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.
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CD
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KOMP 146CD
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Gui Boratto's breakthrough full-length debut Chromophobia was released in 2007 (KOMP 056CD/KOM 152LP). As to what its title suggests, he shook up the techno game with a contrast of lushly colored minimal grooves and melody. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio album, Pentagram. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar -- including the return of "Beautiful Life" vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload". Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, "The Walker" -- hot on the trail of Tears For Fears Elemental (1993), one of Boratto's "favourite 80's bands" -- to the hi-NRG euphoria of "Forgotten" and its pounding tech alter ego "Forgive Me". "I was going into two different directions", Boratto says; "the typical 'indie- electronic-rock' Boratto kind of production like 'It's Majik' or 'Like You' and a much more techno approach." The Brazilian producer further embraces the pop-friendly essence of his past work on tracks like "The Phoenix", featuring vocalist Nathan Berger, and "Overload", both melding acidulous synth lines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer "618" duration accidentally happens to equate the proportions of the said pentagram. "Coincidence?" Boratto questions, and capsulizes, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the Brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work." Whereas "Spur" (a field-tested 808 and 909-heavy "purist track") and "Alcazar" are sheer smooth-edged four-to-the-floor epics, the album also shares its lot of startling moments, such as with the John Barry-esque "Scene 2" and its refined string-laden buildup; or with "Hallucination" (feat B.T.), and the further James Holden-ish title-track "Pentagram". Pentagram, in its entirety, is alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.
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12"
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KOM EX103EP
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Speicher 103 is Marc Romboy and Kompakt's inaugural act of faith. A cosmic storm in a teacup, "Galaxy In An Atom" blows some furious stellar winds across a shapeshifting tide of loud kicks and mutant bass moves, beating across uneven arpeggiated synth reliefs through thick and thin. Following up pedal-to-the-metal, the pulsating "Elektrisiermaschine" makes for a proper peak time ball of fire. Built upon a rolling and pitching bass comber, the track sets its pistons and rods in dancing motion straightaway, adding batucada-like rhythms for a mind-bending onslaught.
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CD
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KOMP 145CD
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"Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time, there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas /A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite." --Wolfgang Voigt, 2018
Rausch was created as a single composition. The intention is to listen to the album as a whole from beginning to end. Following a global tour, GAS will continue to perform live throughout 2018 to support Rausch.
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2LP
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KOM 386LP
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Repressed; Double LP version. Includes download code. "Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time, there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas /A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite." --Wolfgang Voigt, 2018; Rausch was created as a single composition. The intention is to listen to the album as a whole from beginning to end. Following a global tour, GAS will continue to perform live throughout 2018 to support Rausch.
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12"
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KOM 384EP
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A new duo of Thomas Gandey (Cagedbaby) and Daniel McLewin (Psychemagik), launches by the name of Ghost Vision. "Saturnus" is an upright mano-a-mano between two musicians and their gear; real (machine) talk as the hip-hop heads would say. Straight soul oration poured off the cosmic-scapes generated by a good old Moog Voyager, '70s string machines, Oberheim OBXA, 303, Space Echo, and the too little-known and equally little-used Korg Lambda, Ghost Vision's debut EP traverses remote kosmische-indebted expanses but hits close to the core with its deft mix of slow-burning spectral funk, textured outers-pace pads, and stirring heart-searching harmonics.
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12"
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KOM 385EP
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Hey, Rex The Dog is back and his lasers are stronger than ever. Throw your hands in the air and watch your fingers drop one by one. No, you won't feel pain. As much damage "Crasher" does -- it's cause and relief in one. Like analgetic trance? You said the t-word! And the a-word, too. Right.
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12"
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KOM 383EP
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A staple of the Los Angeles house and techno scene, Alexandre Mouracade has released under his real name and the alias of Sonns, and alongside Travis Kirschbaum as Split Secs. Mouracade revives his Sonns moniker with Tame for a three-track mixture of sun basking grooves, foot-shuffling rhythms, and luscious vocals courtesy of Beesh. Setting things in hypnotic motion, the title-track oozes an inviting synthesis of early morning flavors and flowery summer scents. The revolving, train-like pulse of "Across The Pond" then further weaves heady kaleidoscopic motifs before Marvin & Guy take over the flip to add their inimitable touch.
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LP
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KOM 382LP
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LP version. Includes download code. To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of a hedonistic mélange of funk-soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break an eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, Mixtape Vol.1 is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland -- a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of "Beggin", "Plastic People" and "Yesterday" -- all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodered, chip-implemented groove of "I AM ROBOT" -- reminiscent of Telex and Space Art, Balearic jazz and rap shine of "Sky So High", smoky lounge ambience of "L AND H" onto broader ambient-friendly spans such as "Suspension", "Windshield Gently Wipers", and the smooth, sun-basking closer "Get Down", each track holds a fragile cocooned world at its heart.
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CD
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KOMP 144CD
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To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of a hedonistic mélange of funk-soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break an eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, Mixtape Vol.1 is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland -- a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of "Beggin", "Plastic People" and "Yesterday" -- all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodered, chip-implemented groove of "I AM ROBOT" -- reminiscent of Telex and Space Art, Balearic jazz and rap shine of "Sky So High", smoky lounge ambience of "L AND H" onto broader ambient-friendly spans such as "Suspension", "Windshield Gently Wipers", and the smooth, sun-basking closer "Get Down", each track holds a fragile cocooned world at its heart.
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12"
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KOM EX102EP
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The 102nd instalment in the Speicher series sees an eclectic squad of producers. Longtime friends turned studio companions, Enzo Elia and Musumeci join forces for the first time on the unfaltering late-night hip-swayer "Gothic Safari". The vibe then swerves into further savannah-friendly audio territories with unheard French newcomer La Marine, popping up with an off-axis downtempo electro hybrid of unknown provenance. Rising Bolivian duo Animal Print serve up the aptly named Badalamenti-esque roller "The Last Night Of Laura Palmer" which recalls the bizarro ambiences of Twin Peaks all the while following a rather straightforward, frontally club-ready sense of style.
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LP
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KOM 381LP
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LP version. Includes download code. Seeking the overwhelming vibration of the genuine sound wave and its profound echo on the soul, Kenneth James Gibson has spent his career experimenting under a variety of aliases like as many brushstrokes to an ever polymorphic palette -- successively releasing as [a]pendics.shuffle, Bell Gardens, Reverse Commuter, dubLoner, Kenneth James G., KJ Gibbs, Bal Cath, Eight Frozen Modules, and Premature Wig... the list is long. Near to two years after his first incursion on Kompakt with his third studio album The Evening Falls (KOMPPA 004CD/LP, 2016), Gibson returns with In The Fields Of Nothing, his second full-length delivery for the Cologne-based imprint. A piece of intricate scales and moods, by turn streaming with the quiet flow of a small meandering rill, then suddenly veering off into an oceanic kind of tumult, In The Fields Of Nothing was conceived as a proper film soundtrack with its rhythmic ebb-and-flow and deep sense of immersion, pulling the strings to an imaginary scenario where the uncanny rubs shoulders with a minute care for the immersion and deep emotional involvement of its whole. Like entangling multiple levels of consciousness through a mille-feuille of textures, piano, and strings as well as a flurry of subtly FX-soaked instrumentals, Gibson reflects on his new album -- created and recorded right after The Evening Falls came out -- as hugely inspired by the lushly forested mountain landscapes of his home region, the bewitching Idyllwild, California. With each track being an essential petal in the narrative corolla figured by Gibson, it's a breathing forest of sounds that deploys, bearing the memories of Kenneth's early morning and late night wanderings in the wild, alone and not, with the ancient trees' vital force for main companion. An attempt at capturing a slice of these ephemeral sensations felt when striding along across the San Jacinto mountains, staring at the star-studded dome or gazing into the quiet horizon at dawn, In The Fields Of Nothing eludes the single genre encapsulation, opting for the all-embracing openness of scope as it hops from droney melodic interplays ("Her Flood") and roomy string-laden folk drifts ("Further From Home") through Ligetian webs of sound ("Thirsty Lullaby", "Fields Of Everything") and poignant threnodies ("Unblinded"), onto sorrowful pop ballads ("Far From Home") and lulling ambient scapes ("To Love A Rotting Piano", "Plastic Consequence"). Essential for fans of Stars Of The Lid, Chuck Johnson, Kaitlyn Aurelia Smith, Visible Cloaks.
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CD
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KOMP 143CD
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Seeking the overwhelming vibration of the genuine sound wave and its profound echo on the soul, Kenneth James Gibson has spent his career experimenting under a variety of aliases like as many brushstrokes to an ever polymorphic palette -- successively releasing as [a]pendics.shuffle, Bell Gardens, Reverse Commuter, dubLoner, Kenneth James G., KJ Gibbs, Bal Cath, Eight Frozen Modules, and Premature Wig... the list is long. Near to two years after his first incursion on Kompakt with his third studio album The Evening Falls (KOMPPA 004CD/LP, 2016), Gibson returns with In The Fields Of Nothing, his second full-length delivery for the Cologne-based imprint. A piece of intricate scales and moods, by turn streaming with the quiet flow of a small meandering rill, then suddenly veering off into an oceanic kind of tumult, In The Fields Of Nothing was conceived as a proper film soundtrack with its rhythmic ebb-and-flow and deep sense of immersion, pulling the strings to an imaginary scenario where the uncanny rubs shoulders with a minute care for the immersion and deep emotional involvement of its whole. Like entangling multiple levels of consciousness through a mille-feuille of textures, piano, and strings as well as a flurry of subtly FX-soaked instrumentals, Gibson reflects on his new album -- created and recorded right after The Evening Falls came out -- as hugely inspired by the lushly forested mountain landscapes of his home region, the bewitching Idyllwild, California. With each track being an essential petal in the narrative corolla figured by Gibson, it's a breathing forest of sounds that deploys, bearing the memories of Kenneth's early morning and late night wanderings in the wild, alone and not, with the ancient trees' vital force for main companion. An attempt at capturing a slice of these ephemeral sensations felt when striding along across the San Jacinto mountains, staring at the star-studded dome or gazing into the quiet horizon at dawn, In The Fields Of Nothing eludes the single genre encapsulation, opting for the all-embracing openness of scope as it hops from droney melodic interplays ("Her Flood") and roomy string-laden folk drifts ("Further From Home") through Ligetian webs of sound ("Thirsty Lullaby", "Fields Of Everything") and poignant threnodies ("Unblinded"), onto sorrowful pop ballads ("Far From Home") and lulling ambient scapes ("To Love A Rotting Piano", "Plastic Consequence"). Essential for fans of Stars Of The Lid, Chuck Johnson, Kaitlyn Aurelia Smith, Visible Cloaks.
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2LP
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KOM 374LP
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Double LP version. Includes download code. Following up to three albums on Kompakt since 2011, the latest being Signs Under Test in 2015 (KOMP 119CD/KOM 321LP), Los Angeles based house and techno producer John Tejada returns to the Cologne-based imprint with his thirteenth full-length, Dead Start Program -- an eleven-track journey spanning a prismatic array of styles and patterns, from John's signature soulful techno tunes to the further mazy, hypnotic motifs of his trancey electro hybrids. Be it solo or through a host of multifaceted collaborations, Tejada keeps himself busy on all fronts in and off the club environment, be it by contributing the 44th number in Fabric's seminal mix series (FABRIC 087CD, 2001), playing drums for Detroit legend Daniel Bell (as DBX), testing the limits of acid with Tin Man or joining forces with the hilarious self-proclaimed "disinformationist" Reggie Watts as Wajatta. Since his beginnings and the drop of his debut 12", Waxing, released through his own label Palette Recordings in 1996, John has been carving out a lane of his own -- combining and assembling elements from all ends of his wide-spanning spectrum of reference in a way that allows a more direct transition from the realm of the mind to the circuits of the machine, as confirmed by the deliberately limited studio setup used in the making of the present album. Navigating across the lines, from the arrhythmic machine spook of the album's opener "Autoseek" via the straight-out thumping and jacking pulse of "Hypochondriac" and heavy-lidded breakbeat of "Sleep Spindle" onto the kosmische-infused vibrations of "Telemetry", vibrant slo-mo inertia of "Loss" and wistful club-ready winds of "Duty Cycle" and "Heal", John threads his way through genres and tempos with optimal chameleonic effect. Cloaked in a beautiful sleeve art courtesy of John's long-time friend Juan Mendez, aka Silent Servant -- another key contributor to the Los Angeles scene worldwide, based upon a picture by Mark Richards, Dead Start Program draws its title from the analog start up program used to boot an old CDC 6600 computer from a dead start and which metaphorically invites in John's own words to figure a "reboot from the challenges life throws at you".
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12"
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KOM 379EP
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Jono Ma (Jagwar Ma) and Angus Gruzman (Dreems, Die Orangen) present The Dreemas. Recorded between their studios in industrial North London and the rogue outskirts of Berlin, The Dreemas is an electronic cryogenic stasis of two life-long friends in varying states of crisis, conversion, and transcendence in the year 2017. The groundwork was formed with over a decade of instinctive studio sessions, sweat-riddled DJ conferences, and shoulder-to-shoulder dance dos in clubs, pubs, and dusty down-under doofs. The past presents the future, and the future presents the past on this snapshot of two friends encapsulated in the epoch of a 12".
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12"
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KOM EX101EP
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Brazil-born, Barcelona-based DJ and producer Anna presents her first outing with Kompakt. Anna has garnered international accolades from MixMag, BBC Radio 1, and others, with recent releases on the likes of Diynamic and Turbo Recordings. Speicher 101 carries the DNA of both the studio head and the club dweller, crafting two propulsive, massive belters out of simple, but effective ingredients. "Hidden Beauties" dominates the A side with raw bass power and sizzling drops of acid, while the flipside brings you "The Dansant", one of these spiraling minimalist techno bangers that just seem to grow indefinitely.
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CD
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KOMP 141CD
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Following up to three albums on Kompakt since 2011, the latest being Signs Under Test in 2015 (KOMP 119CD/KOM 321LP), Los Angeles based house and techno producer John Tejada returns to the Cologne-based imprint with his thirteenth full-length, Dead Start Program -- an eleven-track journey spanning a prismatic array of styles and patterns, from John's signature soulful techno tunes to the further mazy, hypnotic motifs of his trancey electro hybrids. Be it solo or through a host of multifaceted collaborations, Tejada keeps himself busy on all fronts in and off the club environment, be it by contributing the 44th number in Fabric's seminal mix series (FABRIC 087CD, 2001), playing drums for Detroit legend Daniel Bell (as DBX), testing the limits of acid with Tin Man or joining forces with the hilarious self-proclaimed "disinformationist" Reggie Watts as Wajatta. Since his beginnings and the drop of his debut 12", Waxing, released through his own label Palette Recordings in 1996, John has been carving out a lane of his own -- combining and assembling elements from all ends of his wide-spanning spectrum of reference in a way that allows a more direct transition from the realm of the mind to the circuits of the machine, as confirmed by the deliberately limited studio setup used in the making of the present album. Navigating across the lines, from the arrhythmic machine spook of the album's opener "Autoseek" via the straight-out thumping and jacking pulse of "Hypochondriac" and heavy-lidded breakbeat of "Sleep Spindle" onto the kosmische-infused vibrations of "Telemetry", vibrant slo-mo inertia of "Loss" and wistful club-ready winds of "Duty Cycle" and "Heal", John threads his way through genres and tempos with optimal chameleonic effect. Cloaked in a beautiful sleeve art courtesy of John's long-time friend Juan Mendez, aka Silent Servant -- another key contributor to the Los Angeles scene worldwide, based upon a picture by Mark Richards, Dead Start Program draws its title from the analog start up program used to boot an old CDC 6600 computer from a dead start and which metaphorically invites in John's own words to figure a "reboot from the challenges life throws at you".
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12"
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KOM 378EP
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Terranova, aka Fetisch, kicks off 2018 with Cosmo EP, four top-notch tracks inspired by raw Chicago house, early NYC electro, and artificial intelligence. "Cosmochord", featuring Italian DJ legend Flashmob, is a peak time monochord banger. "Langsam" is an elegant, driving example of classic dancefloor electronica. A skilled combination of an 808 with an obscure vintage beatbox of eastern origin, an Oberheim OB8, and a 1970 Kunstkopf Mic Instructions. "Cosmocode", featuring Voltague, is intense psychedelic techno with a peak time quality. "Perfect Happiness" is a twisted Afro stomper led by a drunk sounding computer bouncing on the mic.
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2x12"
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KOM EX100LP
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Succeeding a recent run of much-acclaimed outings by stand-out artists such as Laurent Garnier (KOM EX095EP), Kölsch (KOM EX097EP, KOM EX093EP), or Christian Nielsen and Locked Groove (KOM EX096EP), Kompakt's Speicher series hits the magical number 100 with its latest installment, an action-packed double 12" pack that includes brand new belters by Kompakt trailblazers Michael Mayer, Jörg Burger, Jürgen Paape, and Voigt & Voigt. The Speicher series actually has two birth dates: a first one in 1999, when a "Kompakt For Cisco" 12" special edition inadvertently created a new sub label with the rather pragmatically titled Kompakt Extra 001 (KOM EX001EP). Two years later, a Kompakt 12" sampler called Speicher 1 (KOM 030EP) introduced the name of the series that is known today -- and a blueprint for idiosyncratic, powerful techno with clear dancefloor ambitions. Michael Mayer was featured on both of these parent releases and also co-helmed the iconic Speicher 2 vinyl from 2002 (KOM EX002EP), which offered two essential Kompakt cuts, Mayer's "Pride Is Weaker Than Love" and Reinhard Voigt's "Supertiel" -- more than enough reasons to have him start off the celebratory 100th Speicher with a bang: "Lout" sees Kompakt's label head engage in bold, synth-laden prime time techno and the kind of epic noise break that informed his earliest output as a producer and DJ. Kompakt stalwart Jörg Burger is another usual suspect when it comes to label classics, and his Speicher releases as The Modernist (KOM EX028EP, 2005) or Burger Industries (KOM EX016EP, 2004) mark early milestones in the series. His "Beatmesse Pt.1 & 2" focuses on the atmospheric side of Speicher and presents a deep, mutable groover. Meanwhile, Jürgen Paape's "Whisper Echo" and "Rodeo" unearth the series' not-so-secret pop sensibilities -- just as he did on Speicher 47 (KOM EX047EP, 2007) and Speicher 45 (KOM EX045EP, 2007) featuring the notorious "Take That". Voigt & Voigt complete this 2x12" vinyl series profile in style, thanks to moody shuffle bouncer "Leise" and the raucous, spiky banger "Bum Bum Bar", featuring Chris Trance -- it's a fitting conclusion to Speicher's 100th release, coming from the duo that made a habit out of dropping legendary techno jams, from founding bangers "Korn/Roxy" (KOM EX003EP, 2002) and "Vision 03" (KOM EX005EP, 2002) to the most recent Speicher 99 (KOM EX099EP).
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CD
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KOMP 142CD
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Kompakt's Pop Ambient compilation series returns for its 2018 instalment, with series curator Wolfgang Voigt presenting another batch of hand-picked recordings from genre veterans and newcomers alike. The more seasoned among 2018's contributors are easily identified by their individual artistic sensibilities, ranging from the morphing, organic rhythms of The Orb's sample collages (on "Sky's Falling") to Kaito's ethereal, trance-infused soundscapes ("Travelled Between Souls") and Mikkel Metal's intimate ambient songwriting ("Shame"). They join the ranks of Pop Ambient scholars such as or Adjunct's Kenneth James Gibson (who pairs soaring strings with bubbly percussion on "Disinclined To Vacate"). Thore Pfeiffer be found working with genre mainstay Leandro Fresco on opener "Splinter", crossing the growth rings of the Pop Ambient family tree with a subtle, atmospheric collaboration. Another welcome return to the roster, Jörg Burger dusts off his iconic Triola project last heard on Pop Ambient 2013 (KOMP 103CD, KOM 269LP, 2013) with the floating, echo-drenched cut "L'atalante". After making his Pop Ambient debut on 2017's instalment (KOMP 135CD, KOM 365LP, 2017), Yui Onodera continues his exploration of deep, intricate string sounds -- compelling material that shows the Tokyo-based musician and architectural acoustic designer as a strong addition to the Pop Ambient talent pool. He's joined by the two latest recruits to the series, both well-established artists in their own right: techno provocateur T.Raumschmiere flexes his drone muscles on the elegiac "Eterna", while pedal steel guitar maestro Chuck Johnson creates expanding sonic spaces on the meditative "Brahmi" -- a uniquely immersive cut that draws from the idiosyncratic country post-rock he established on his acclaimed Balsams full-length released in 2017. CD version features Magazine's Jens-Uwe Beyer and Max Würden & Thore Pfeiffer.
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