Co-founder of Kompakt, a visual artist, and one of the most daring and constant producers on the contemporary electronic scene, Wolfgang Voigt is also one of the most relevant names, globally, in the history of techno, ambient, and minimal. Over almost four decades of musical creation, Voigt has built a robust catalog of minimal techno, acid house, and ambient under multiple aliases. Mike Ink, Studio 1, Love Inc, and Wasserman are among the most noteworthy. It’s been as GAS that Voigt has established himself as a master of the hybrid of avant-garde and sound art with the basic rhythms that define club music. These are based on two fundamental approaches: a principle of the looped minimalist structures in constant repetition to create specific patterns, and a condensation and deformation of external sources to bring them to their most abstract expression, whether from field recordings or samples referring back to classical music. Using this methodology, GAS went through two great epochs. Between 1995 and 2000, releases included Zauberberg (1996), Königsforst (1997), Oktember (1998) and the emblematic Pop (2000). They remain fundamental recordings which inspired artists like Tim Hecker and The Field. They were followed by a long break of 17 years. With Narkopop (2017), Voigt brought GAS back into a new creative phase and he returned to the international stage. A new release, Rausch, came out in the spring of this year. In Voigt’s own words “GAS is Wagner in the guise of glam rock, Hansel and Gretel on acid. An endless march through the undergrowth of an imaginary, misty forest.” Voigt has been able to keep his halo in constant expansion, intoxicating, sinister and enveloping. That makes GAS the perfect forest in which to get lost. This is Wolfgang Voigt’s first performance as GAS in Mexico.
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