The Long March, GAS

The German composer Wolfgang Voigt has often presented his GAS project, a contemplative alliance between contemporary music and minimalist techno, like a walk in the forest under the influence of LSD. For his seventh album, he returns to stagger in his forest, this time taking already beaten paths – on the binary rhythm which cadences The long march From start to finish, fans will recognize harmonic, melodic and textural patterns borrowed from Königsforst (1998), to Pop (2000) and even the previous one Rausch (2018). Voigt thus revisits his work, but with a new ear, reworking the orchestrations (the violins are less dense, more airy), giving new impetus to his old ideas, even introducing new ones. This is the case on the tenth movement, when the sound of a choir emerges from a bed of strings that belonged to Rausch, marking for the first time its use of the voice in the GAS corpus. Between the familiar and the unheard of, Voigt offers a still bewitching disc which can serve as an initiation into his discography.

The long march

★★★ 1/2

Experimental

GAS, Compact

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Reference-www.ledevoir.com

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