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2LP
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KOM 395LP
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$32.00
PREORDER
RELEASE DATE: 11/30/2018
Double LP version; gatefold sleeve, includes download. Wolfgang Voigt (aka GAS)-curated series, Pop Ambient returns with a change of pace. Be prepared for a more acoustically prominent/avant-garde collection that follows the aesthetic of previous editions... and goes where you have never heard before in the series.
"When a record label thrives after 25 years thanks to a focus of what was expected to be a short-lived music phenomenon called techno, then it stands to prove two things; that techno has taken its place amongst "serious" genres. KOMPAKT has never been only for techno, but stands as a broad-minded entity that has set out to cross-pollinatewithin the realm of electronic music. Through its course, KOMPAKT has sent all kinds of sub-genres, and crossover adventures based on the non-negotiable 4/4 beat around the world. The 100% kick drum-free Pop Ambient series is the most endearing and enduring concept that I have had the pleasure to curate. I felt there was a strong need to add a certain elegance -- ensouled by discourse as much as hedonism -- to a sound that was recognized as "chill out" music that could be heard in back rooms and forgotten festival areas. Over the years, I like to imagine that Pop Ambient has crystallized into musical universe of its own. I put together this year's edition by plowing through an ocean of sonic jewelry from all over the world. For this special edition, I create a homogenous experience that would both appeal to our followers and continue our tradition while integrating new micro-facets from neighboring musical universes as much as possible. The headline "Ambient" might sound a little too humble but it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year. Although every Pop Ambient edition doesn't shy away from diving into the relevant question of "What is contemporary discourse music", in the end it boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. Pop Ambient is sacral music for non-believers." --Wolfgang Voigt Cologne, October 2018.
Features: Thore Pfeiffer, Coupler, The Black Frame, Kenneth James Gibson, Morgen Wurde, Gregor Schwellenbach, Last Train To Brooklyn, Max Würden, Thomas Fehlmann, Leandro Fresco, Yui Onodera, and Triola.
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CD
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KOMP 150CD
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$15.50
PREORDER
RELEASE DATE: 11/30/2018
Wolfgang Voigt (aka GAS)-curated series, Pop Ambient returns with a change of pace. Be prepared for a more acoustically prominent/avant-garde collection that follows the aesthetic of previous editions... and goes where you have never heard before in the series.
"When a record label thrives after 25 years thanks to a focus of what was expected to be a short-lived music phenomenon called techno, then it stands to prove two things; that techno has taken its place amongst "serious" genres. KOMPAKT has never been only for techno, but stands as a broad-minded entity that has set out to cross-pollinatewithin the realm of electronic music. Through its course, KOMPAKT has sent all kinds of sub-genres, and crossover adventures based on the non-negotiable 4/4 beat around the world. The 100% kick drum-free Pop Ambient series is the most endearing and enduring concept that I have had the pleasure to curate. I felt there was a strong need to add a certain elegance -- ensouled by discourse as much as hedonism -- to a sound that was recognized as "chill out" music that could be heard in back rooms and forgotten festival areas. Over the years, I like to imagine that Pop Ambient has crystallized into musical universe of its own. I put together this year's edition by plowing through an ocean of sonic jewelry from all over the world. For this special edition, I create a homogenous experience that would both appeal to our followers and continue our tradition while integrating new micro-facets from neighboring musical universes as much as possible. The headline "Ambient" might sound a little too humble but it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year. Although every Pop Ambient edition doesn't shy away from diving into the relevant question of "What is contemporary discourse music", in the end it boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. Pop Ambient is sacral music for non-believers." --Wolfgang Voigt Cologne, October 2018.
Features: Thore Pfeiffer, Coupler, The Black Frame, Kenneth James Gibson, Morgen Wurde, Gregor Schwellenbach, Last Train To Brooklyn, Max Würden, Thomas Fehlmann, Leandro Fresco, Yui Onodera, and Triola. CD version available as continuous mix.
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12"
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KOM EX106EP
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Kölsch returns to Speicher following a phenomenal year of touring. His Ipso imprint evolved into a global event and he released together with Tiga "HAL", one of the biggest tracks of this summer. For Speicher 106, he takes an unexpected turn with "Emoticon". Found sounds take on new sonic form and the result is an unconventionally unique groove odyssey. "Little Death" is anything but tragic or small. A choir chant explodes over top of an enchanting house beat which elevates over time to an almighty apex that we have learned to love and rely on from Kölsch.
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12"
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KOM EX105EP
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Brazil-born, Barcelona-based Anna returns to her new home Speicher, for the second time in 2018. If one went to a club in 2018, one undoubtedly heard "Hidden Beauties" and touched countless people with her sincere and unabashed passion for techno and DJing. This release presents a different side of Anna; her remarkable production skills continue to shine as she looks more inward with "Remembrance". The A-side combines a broken beat main mix and a four-to-the-floor rendition. "When I Am Only A Dream" continues the path of her previous work, both punishing and caressing the dance floors of tomorrow.
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3LP BOX
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KOM 393LP
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Kompakt presents a new LP and audio-visual venture by Danish producer Kasper Bjørke and close cohorts. Epic in length but always captivating, The Fifty Eleven Project is an entirely ambient concept album that interprets and evokes the emotional rollercoaster Kasper experienced, from his cancer diagnosis and throughout the five years of regular check-ups. The week of the album release marks his second anniversary of getting the all-clear. The base of the album was composed on vintage analogue synthesizers, reverbs, echo and sequencers, by Kasper and synth wizard Claus Norreen, in the latter's Copenhagen studio, using the computer solely as a recording device. The violins, violas and cellos are composed and played by the Italian composer Davide Rossi, who has worked with Ennio Morricone, Jon Hopkins, Röyksopp, The Verve, and Goldfrapp. The piano parts are composed and played by Danish musician Jakob Littauer (of Kompakt label-mates Jatoma) on an old upright piano in a studio, and on a Steinway grand piano in the concert hall at the Royal Danish Music Conservatorium. From Max Richter's Sleep (2015), Hannah Peel's Mary Casio: Journey To Cassiopeia (2017), to much of Brian Eno's Music For Installations (2018), The Fifty Eleven Project continues in a rich vein of work by contemporary composers which explores a situation/condition, and is made with functionality and healing in mind. The visual side of The Fifty Eleven Project is made in collaboration with the culture laboratory Prxjects and acclaimed L.A.-based artist/filmmaker/photographer Justin Tyler Close, who has created art films for each of the album's tracks plus one music video including clips from all films. Furnished in an exquisite fabric box, this 180 gram 3-LP clear vinyl box is presented by cover art created by world-renowned artist Landon Metz, further cementing the release's multidisciplinary links to the art world.
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12"
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KOM 391EP
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First incursion of Tom Demac on Kompakt, White Flowers sees the British producer joining forces with London's Real Lies. The three cuts on White Flowers ooze a fine alloy of quick-consumed ecstasy, fresh heartbreak and shivery consolation. The lead-track essays forth into deep, string-laden minimal techno terrains as the languid voice of Kev Kharas adds another dimension to the instrumental picture. Pushing into a breaks-heavy, more openly club-ready direction, Demac's "Felix" further emphasizes the groove with a rousing blend of 303 bass and synth-y glitter, before the ambient version of "White Flowers" provides a plain melancholic note.
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2LP
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KOM 392LP
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Double LP version. Two years on from his last outing, The Follower (KOMP 130CD/KOM 350LP, 2016), Axel Willner puts on his Field suit again to present his sixth full-length effort for Kompakt, Infinite Moment. Infinite Moment sees him striding further across the deeper, richer rims of the hue cycle. In Willner's own words, "the threshold of creating something new had to be broken", as had been done with his past albums, including his acclaimed debut From Here We Go Sublime (KOMP 057CD/KOMRSD 002LP, 2007). For Willner, "stepping outside of the studio opened up fresh perspectives on the creation of new music"; it was the opening cut, "Made Of Steel, Made Of Stone", that got him into the flux of things, "making of the rest of the album easier as I went". Substituting the up-tempo vim of his previous pieces for a sense of mind-expanding horizontality, Infinite Moment is an album filled with hope and draped in a diffuse, appeasing light, easing the pain and troubles of the human soul through a lushly forested recital of shoegazing modular, complex textural interplays and solar, atmospheric fractals. "Made Of Steel, Made Of Stone" gets the ball rolling on a thumping down-tempo note, which as Willner explains, "gives me a lot of hope". "Hope is something I've been missing in the nowadays climate and this album is a relief to me, a type of comfort, like a moment that feels good and you don't want to end." "Divide Now" is a sonic mitosis, engaging the metamorphosis to come; like a larvae pupating and reemerging weeks later from under rough bark in the form of a butterfly - fluttering breaks shed their skin to make way for a more intimate and hypnotic second chapter. "Hear Your Voice" propels the lavish, pad-upholstered glamour of its melodic lines in a bolder syncopated re-visitation of 1980s-indebted pop harmonics, while "Something Left, Something Right, Something Wrong" returns to a flaring post-euphoric daze. A more arrhythmic affair, "Who Goes There" spins out into orbit wildly, fusing acid bass moves with a haunting motorik, playing with the listener's mind intensely before the ten-minute-long epic "Infinite Moment" ushers its listener into a highly immersive final ballet of buzzing chords, trampling drums and all-consuming drones. This album is a direct soul-to-soul transmission, aiming no further than at finding the right balance between contained emotion and an expressive eloquence.
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CD
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KOMP 149CD
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Two years on from his last outing, The Follower (KOMP 130CD/KOM 350LP, 2016), Axel Willner puts on his Field suit again to present his sixth full-length effort for Kompakt, Infinite Moment. Infinite Moment sees him striding further across the deeper, richer rims of the hue cycle. In Willner's own words, "the threshold of creating something new had to be broken", as had been done with his past albums, including his acclaimed debut From Here We Go Sublime (KOMP 057CD/KOMRSD 002LP, 2007). For Willner, "stepping outside of the studio opened up fresh perspectives on the creation of new music"; it was the opening cut, "Made Of Steel, Made Of Stone", that got him into the flux of things, "making of the rest of the album easier as I went". Substituting the up-tempo vim of his previous pieces for a sense of mind-expanding horizontality, Infinite Moment is an album filled with hope and draped in a diffuse, appeasing light, easing the pain and troubles of the human soul through a lushly forested recital of shoegazing modular, complex textural interplays and solar, atmospheric fractals. "Made Of Steel, Made Of Stone" gets the ball rolling on a thumping down-tempo note, which as Willner explains, "gives me a lot of hope". "Hope is something I've been missing in the nowadays climate and this album is a relief to me, a type of comfort, like a moment that feels good and you don't want to end." "Divide Now" is a sonic mitosis, engaging the metamorphosis to come; like a larvae pupating and reemerging weeks later from under rough bark in the form of a butterfly - fluttering breaks shed their skin to make way for a more intimate and hypnotic second chapter. "Hear Your Voice" propels the lavish, pad-upholstered glamour of its melodic lines in a bolder syncopated re-visitation of 1980s-indebted pop harmonics, while "Something Left, Something Right, Something Wrong" returns to a flaring post-euphoric daze. A more arrhythmic affair, "Who Goes There" spins out into orbit wildly, fusing acid bass moves with a haunting motorik, playing with the listener's mind intensely before the ten-minute-long epic "Infinite Moment" ushers its listener into a highly immersive final ballet of buzzing chords, trampling drums and all-consuming drones. This album is a direct soul-to-soul transmission, aiming no further than at finding the right balance between contained emotion and an expressive eloquence.
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2LP
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KOM 388LP
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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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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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2CD
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KOMP 147CD
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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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2LP
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KOM 390LP
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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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12"
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KOM 389EP
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Fresh off the release of his Cosmo EP earlier in 2018 (KOM 378EP), Terranova reignites the fire with Singularity, the second EP from the forthcoming Terranova album. The ethereally hypnotic vibe of "Let It Fail", featuring Sifa & Ivory, with its brittle percussions and slow-scudding pad tapestries, as well as the left-of-center, hovering electro of "Powergrid" draw a zero-G atmospheric vein. "Sophia" is tailored for dawn-time party communion and intense stargazing momentums.
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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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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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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 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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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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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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