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12"
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KOM EX109EP
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$14.50
PREORDER
RELEASE DATE: 6/21/2019
Yotam Avni has been a long fixture of the Tel-Aviv nightlife scene, well known internationally thanks to releases on Ovum, Innervisions, and Hotflush. Kompakt welcome him to their Speicher series with three unlikely cuts. "Mañana Mañana" swells with a mid-90s prowess that echo the earliest of Kompakt's days in the best of ways. "Track For Agoria" thrives from the method of true minimal techno but abstractedly brought into harmony with bells and tweaking synths. "Heavy Lifting" is righteously led by a soaring synth that envelops itself into snap dragon snares and washed out hi-hats,
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3LP
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KOM 370-2LP
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$32.00
PREORDER
RELEASE DATE: 6/7/2019
Königsforst -- following the 1997 release of Zauberberg (KOM 370-1LP), Wolfgang Voigt's GAS project returned with Königsforst in 1998, a full-length that has stood the test of time as a template for introducing fundamentals of '90s techno into the principles of contemporary electronic music. Originally released in 1998 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS Box (KOM 370LP), Königsforst is now released on Voigt's own label, Kompakt, as a 180 gram, triple-LP vinyl in its original artwork. Königsforst brings glimmers of light into Voigt's dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by muffled kick drums as classical music loops incessantly swirl with no direction. Includes download.
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12"
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KOM 402EP
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$15.50
PREORDER
RELEASE DATE: 5/24/2019
Reinhard Voigt returns to his own label with another episode of satiric techno. Reinhard embraces all that wildlife has to offer with Was Wir Spüren. A bass drum on "Das Singende, Klingende Ding" guides you through a voracious bee storm as the rooster crows gloriously towards duck quacking oblivion. "Tausendmal Zu Viel" fits perfectly as the soundtrack for to the artwork created by Mareena von Cube. "Der Mann, Der Nie Nach Deutz Kam" is classic Reinhard Voigt techno at peak-time point. A throttling bass drum is voraciously fueled by the jungle twilight.
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12"
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KOM EX108EP
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Kompakt open the Speicher gates to Swedish export La Fleur. La Fleur fulfills the difficult matrimony of bridging minimal-house percussion with deep emotive groove on "Tears". In her own words, "I wanted to create a feeling of melancholy, the dreamer wanted this dream to be true and then on waking up realized that it was all just a dream. Hence the vocal, washing my dreams away with tears." John Monkman and James Monro are an unlikely pairing in the best of ways. They offer "Pesto Punk", a raging conglomeration of delinquent-techno madness.
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2LP
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KOMRSD 005LP
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RSD 2019 release. Long-time, hidden gem and one of the pivotal releases that shaped what would later on become the "Sound of Cologne". Originally released in 1993 on CD at the opening of the Delirium Recordshop in Cologne -- the birth house of Kompakt. Now available for the first time on vinyl! Released under their monikers The Bionaut (Jörg Burger) and Mike Ink (Wolfgang Voigt), Music For Stock Exchange marks one of the many highlights evolving from this artistic relationship. Ethik perfectly showcases the pair's very own take on electronica/IDM that soon led into their Harvest releases as Burger/Ink, The Bionaut, and The Modernist. 25 years after its inception, Ethik sounds strangely contemporary and will delight the old and surely find many new friends. 180 gram vinyl.
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12"
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KOM 399EP
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Tom Demac returns to Kompakt, this time solo with the three-tracker Serenade. The title track is delicately brought together by a fragile piano rhythm and poetic wisdom over the might of the kick drum. "Seventh Sign" was initially intended an experiment in cello recordings through an effects pedal but ended up being track brimming with pure techno groove. "Second Skin" is the perfect finale embracing epic elements of broken beat and even IDM sensibilities with a gorgeously misguided horn leading the march.
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CD
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KOMP 152CD
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Velvet Desert Music Vol. 1 introduces a new compilation series on Kompakt, curated by one of Cologne's leading figures in electronic music, Jörg Burger (aka The Modernist, The Bionaut, Burger/Ink, and many more). Velvet Desert Music Vol. 1 combines elements of rock, folk, country, surf, krautrock, and psychedelic in contemporary electronic music. The compilation features unreleased music and mixes from Matias Aguayo (Terrapin), Fantastic Twins, Paulor, Rebolledo, Sascha Funke & Cosmo Vitelli, Superpitcher, The Modernist, and more. The concept shares some similarities to Kompakt's Pop Ambient series as unlike a conventional compilation of tracks from different artists, Velvet Desert Music Vol. 1 is a collection of music that creates a distinct vibe and atmosphere. The release is intended to be heard as you would hear an album from an (imaginary) band. Jörg Burger is responsible for the concept and selection. The styles of music presented on Velvet Desert Music Vol. 1 play a crucial role and influence in his work for many years. Now he has created a platform for these styles. Beside showcasing his own music, Jörg Burger kept to inviting a close circle of friends and colleagues that share similar influences in their work. All of their contributions were specially composed or remixed for this collection. Velvet Desert Music Vol. 1 features the first new Burger/Ink track since the release of their iconic full length Las Vegas on Harvest and Matador Records in 1996. Also features The Novotones, Cologne Tape, Kenneth James Gibson. CD version includes tracks by Jörg Burger, Metope, and Paul Mac.
"Just think... from Sergio Leone to David Lynch, from Elvis in his deepest moments to Johnny Cash somewhere between amphetamine backlash and American Recordings, from 'Hollywood Babylon' to 'Hotel California', from Mulholland Drive to Paris, Texas. Served with a pinch of Tago Mago and Pink Floyd at Pompeii. Then you know exactly what Velvet Desert Music is about... " --Jörg Burger
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2LP
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KOM 398LP
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Double LP version. 180 gram vinyl; Includes download code. Velvet Desert Music Vol. 1 introduces a new compilation series on Kompakt, curated by one of Cologne's leading figures in electronic music, Jörg Burger (aka The Modernist, The Bionaut, Burger/Ink, and many more). Velvet Desert Music Vol. 1 combines elements of rock, folk, country, surf, krautrock, and psychedelic in contemporary electronic music. The compilation features unreleased music and mixes from Matias Aguayo (Terrapin), Fantastic Twins, Paulor, Rebolledo, Sascha Funke & Cosmo Vitelli, Superpitcher, The Modernist, and more. The concept shares some similarities to Kompakt's Pop Ambient series as unlike a conventional compilation of tracks from different artists, Velvet Desert Music Vol. 1 is a collection of music that creates a distinct vibe and atmosphere. The release is intended to be heard as you would hear an album from an (imaginary) band. Jörg Burger is responsible for the concept and selection. The styles of music presented on Velvet Desert Music Vol. 1 play a crucial role and influence in his work for many years. Now he has created a platform for these styles. Beside showcasing his own music, Jörg Burger kept to inviting a close circle of friends and colleagues that share similar influences in their work. All of their contributions were specially composed or remixed for this collection. Velvet Desert Music Vol. 1 features the first new Burger/Ink track since the release of their iconic full length Las Vegas on Harvest and Matador Records in 1996. Also features The Novotones, Cologne Tape, Kenneth James Gibson. CD version includes tracks by Jörg Burger, Metope, and Paul Mac.
"Just think... from Sergio Leone to David Lynch, from Elvis in his deepest moments to Johnny Cash somewhere between amphetamine backlash and American Recordings, from 'Hollywood Babylon' to 'Hotel California', from Mulholland Drive to Paris, Texas. Served with a pinch of Tago Mago and Pink Floyd at Pompeii. Then you know exactly what Velvet Desert Music is about... " --Jörg Burger
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CD
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KOMP 151CD
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Straight in the wake of their eponymous debut LP (KOMP 131CD/KOM 352LP, 2016), Weval return to Kompakt with their sophomore album, The Weight, breaking their pop-mellow, nostalgia-friendly style further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever-luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously colored mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them -- more playful and unpredictable -- which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toy synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box. We've always wanted a narrative for the album, and finding the right order perhaps took the most effort." As a whole, The Weight breathes with that transformative richness, free of limits and rules. Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music -- one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life -- from the most euphoric to those when music seems the only viable healing potion. Weightless and airy, yet texturally dense and widely magnetic overall, The Weight is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
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2LP
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KOM 396LP
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Double LP version, includes download. Straight in the wake of their eponymous debut LP (KOMP 131CD/KOM 352LP, 2016), Weval return to Kompakt with their sophomore album, The Weight, breaking their pop-mellow, nostalgia-friendly style further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever-luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously colored mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them -- more playful and unpredictable -- which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toy synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box. We've always wanted a narrative for the album, and finding the right order perhaps took the most effort." As a whole, The Weight breathes with that transformative richness, free of limits and rules. Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music -- one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life -- from the most euphoric to those when music seems the only viable healing potion. Weightless and airy, yet texturally dense and widely magnetic overall, The Weight is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
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12"
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KOM 397EP
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Kompakt welcome back Montreal's Clarian with Time Safari. The majority of the EP was a two-year long process from recordings made in South Africa as a team effort of Richard Marshall, Blane Venter, and of course Clarian. The aim Clarian has with Time Safari is to attempt to empower the idea that club music can go beyond simply being labeled as a genre and club motif but can also explore alternative, creative and most of all be a conduit to bring unity. Think if Tuxedomoon collaborated with Carl Sagan to create a weirdo version of Cosmos.
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12"
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KOM EX107EP
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Born in Egypt, bred in Dubai, and now situated in the electronic music hub of Barcelona, Raxon makes his Speicher debut with this double-header that falls into line just past his breakthrough Destiny EP on Diynamic (2018). "The Ancient" could be taken as a twisted modern version of Yazoo's "Superstition" -- subtle and bold this track bridges on the sexier side of electro-strasse with a gleaming dagger of nu-wave sophistication. His roots as one of the Middle East's biggest DJs shines through the "Dark Light". Mysterious minimal rhythms propelled with a sinister synth hook drives this track.
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12"
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KOM 394EP
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London-based Anii returns home to Kompakt following a breakthrough year. She continues to bring a unique and highly emotive take on techno and house music to a sound that has become more and more mundane over recent times. Aniitime is a diverse, three-track EP that starts with "Ride The Tiger". Is this an inadvertent tribute to the Warp classic, "Sweet Exorcist" or just some jungle voodoo magic? The title track sees her going deep into her emotional treasure chest to produce a violin meets acid techno incarnation. Her third offering is the solid, house riddled "Galaxianii".
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3LP
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KOM 370-1LP
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Zauberberg -- Wolfgang Voigt's most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography -- finally stands alone once again and is released in the way its original splendor. Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS Box (KOM 370LP, 2016), Zauberberg is now released on his own label, Kompakt. Though this narcotic symphony is not the first release under the GAS moniker, Zauberberg is the first to disclose the true nature of Wolfgang Voigt's unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, Zauberberg is the definitive GAS album and a perfect starting point for those not familiar with his music. 180 gram vinyl.
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LP
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KOM 401LP
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LP version; 180 gram vinyl. 1929 - Das Jahr Babylon marks Thomas Fehlmann's third full-length release of 2018 and presents what appears to be a creative peak in a career that spans beyond his solo work to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio. A departure from his recent dance floor-friendly album Los Lagos (KOMP 148CD/KOM 388LP), 1929 - Das Jahr Babylon is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series. To complement the internationally-lauded TV series Berlin Babylon, German director Volker Heise has created a documentary about 1929, the fateful year during Germany's Weimarer Republik in which Berlin Babylon is set. Heise's stirring documentary portrays Germany's sizzling capital faced with radical changes by the dark forces about to toss the world into the abyss of World War II. This marks the second time that Fehlmann is partnering with Heise after 2010's marathon documentary 24 Stunden Berlin which was released as Gute Luft (KOMP 081CD, KOM 211LP) in the same year. Fehlmann's composition for 1929 consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time. KOMPAKT feels that Fehlmann's score has turned out spectacularly enough to give it proper release.
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CD
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KOMP 153CD
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1929 - Das Jahr Babylon marks Thomas Fehlmann's third full-length release of 2018 and presents what appears to be a creative peak in a career that spans beyond his solo work to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio. A departure from his recent dance floor-friendly album Los Lagos (KOMP 148CD/KOM 388LP), 1929 - Das Jahr Babylon is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series. To complement the internationally-lauded TV series Berlin Babylon, German director Volker Heise has created a documentary about 1929, the fateful year during Germany's Weimarer Republik in which Berlin Babylon is set. Heise's stirring documentary portrays Germany's sizzling capital faced with radical changes by the dark forces about to toss the world into the abyss of World War II. This marks the second time that Fehlmann is partnering with Heise after 2010's marathon documentary 24 Stunden Berlin which was released as Gute Luft (KOMP 081CD, KOM 211LP) in the same year. Fehlmann's composition for 1929 consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time. KOMPAKT feels that Fehlmann's score has turned out spectacularly enough to give it proper release.
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2LP
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KOM 395LP
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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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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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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 392LP
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Repressed; 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 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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