in the middle of the 1990Â’s, wolfgang voigt, better known under a great many pseudonyms such as mike ink, studio1 or grungerman, and the driving force behind the rise of cologne minimal techno, had reached a temporary peak in his career. regardless, he never really stopped pursuing and developing his true creative music passion.

going back to the 1980s, voigt began working under a self realized concept he named blei. taking in the most varied sound models, he began to extract elements from classical, polka, or brass music, and along with electronic pop music and german schlager sounds formed a distinguished and unique pop music style that would fit in with the subculture at that time.

in the early 1990s, influenced by techno, voigt began to experiment with a timbal marching through strongly alienated, free-floating string loops. these elegiac tracks, their lack of beginning or end, their intoxicating, smooth and partly amorphous structure sounded to him like evaporating gas and thus, gas music was born. gas is the vision of a sonic body between schönberg and kraftwerk, between french horn and bass drum. gas is wagner goes glam rock, and hansel and gretel on acid. gas is there to take you on a seemingly endless march through the underwoods– and into the discoteque of an imaginary, nebulous forest.

in his music, wolfgang voigt does not create a direct reference to the original sounds and/or even the forest itself. he rather tries to reduce the material to its basic aesthetic structure by using different zoom, loop and alienation techniques in order to release it from its original meaning and context. his intention is to create a kind of aesthetic essence, a cave (detail/loop/repetition) where you can get lost. and for all of you who think that this is too heavy to ingest, please accept this as wonderful music.