Ruckverzauberung 4

I'm surprised at the lack of attention that has been paid to Wolfgang Voigt's latest ambient project Ruckverzauberung, especially given its similarities to, and expansion beyond, his universally praised Gas productions. Only two tracks have been released thus far: the typically-functionally-titled 'Ruckverzauberung 1' and 'Ruckverzauberung 2', the former on Pop Ambient 2011, the latter the A-side to Profan 34. Both are sonically dense, texturally rich, heavily processed treatments of classical music fragments, inviting close listening and further scrutiny. '1' is calmer and more peaceful, while '2' is dark and foreboding, employing warbled tones reminiscent of Oneohtrix Point Never. Here's '2':



So like Gas then, only here the gaseous element is largely absent, replaced with cleaner lines and more discernible source material, and in place of the surging drone we have shifting fragments and a greater sense of linear development. Certain patterns are repeated, shot through with delay and reverb, and then retreat, like motifs in classical composition. There is also a more overt focus on electronic timbres, bringing a sharpness entirely absent from Gas and also his work as All, which adds an element of menace more closely associated with the soundtracks of John Carpenter and Alan Howarth. There's none of the sheer aural bliss that oozes from parts of Konigsforst, Pop or Alltag 1-4.








Ruckverzauberung is clearly a significant work for Voigt as it's soon to be released in a limited art edition LP-sized double CD with Kafkatrax, an awkward format and pairing to be sure.



The latter though is good, prompting reviews in two subsequent issues of The Wire, with my take for Cyclic here. Appropriately confused videos by 29Nov to these too:




I wonder whether Kafkatrax get much play for the floor out at clubs? Figure it could work well within your contemporary dark Techno set a la Berghain etc. Does Voigt perform them? I'm still longing for the tranced-up version of Roxy's 'More Than This' he played with Jorg Burger back in 2008 at the Millenium Dome. What a song! Settle for this rendition in the meantime:

The Sight Below / Rafael Anton Irasarri

I've been a big fan of Rafael Anton Irisarri's work since I heard his incredible The North Bend on Room 40 - bleak Badalementi-esque ambiance evoking some terribly sad place, less defined by portentous Lynchian horror than by the barren aftereffects of such menace, the alienation of a world emptied of hopes and dreams. After that I tracked down all his stuff, the Lynch connection made concrete on 'A Great Northern Sigh':


... and 'Lumberton' (a favourite of bvdub):


... along with his other influences - 'VoigtKampff's nod to Wolfgang:


... recordings of Satie's 'Gnossienne #1' (with Goldmund):


... and Part's 'Fur Alina':


... all demonstrate just how close his tastes are to mine. It's fortunate, and oddly rare, that I like his music, as all too often one comes across artists who cite fantastic influences only for their work to be total shit.

I'd read somewhere about Irisarri's other project The Sight Below but only heard it this morning, thanks to my dear friend Christo. Here the Voigt influence - read Gas - is clearly audible: dark, slowly unfolding synthetic waves powered by steady bass drum. There's less presence than with Gas, and less detail in the midrange drones, which Irisarri creates from effected guitar, not samples. There's also ample originality to justify its independent existence - a kind of shoegaze Voigt, or 'Gas meets Grouper' as one friend put it. These from 2008's Glider:





By 2010's It All Falls Apart there's less Gas and more Grouper, with Slowdive's Simon Scott on board to deliver added whoosh, as on 'Stagger'


... and there's vocals even, by Jesy Fortino of Tiny Vipers on Joy Division cover 'New Dawn Fades':


Beautiful and interesting music. I'm reminded too that other titan of ambient techno, Markus Guentner





Irissari favours vinyl, so check here for links to buying it.