dry, laconic deep-sound/hi-hat combinations set the beat, interspersed with calculated breaks. baselines in the narrow sense are few and far between, and the low frequency spectrum is, –with a few exceptions,– covered by sounds that are more punctuated than anything else. on the one hand, this lends the album a minimalistic and accidental type of harmony, but, on the other hand, it also adds a percussive touch to the sound. it goes without saying that the rhythms are reduced und mathematical: the drive, however, is created by the many background micro-loops and delays that mark the album, often with high frequency trills, whirrs and clicks, allowing a smooth transition from one track to the next.
most of the track titles originate from what is perhaps the most apparent aspect of »gold«: the short, accentuated morsels of language, –often containing just one syllable, for example "blue", "two" or "weiss". this style was last evident on komet's first release »saat« (r-n002, 1996) and lends »gold« a kind of popular touch. and yet, amidst all the arithmetic and calculation there is still room for the accidentals, and the very fabric of the multi-layer delays und loops results overall in a nice, relaxed flow.
»gold« is komet'Â’s aka frank bretschneider's eighth album and evolved over a long period of time. some of the tracks, such as »omsk« or »left«, were recorded as early as 2001 for a raster-noton session at the new york radio station WFMU. likewise, the first recordings of »two«, »weiss« and »gold« were made two years ago. since then, the material has been modified and added to continuously. the 12" vinyl, which will be released at the same time as the album, includes exclusive versions which are testimony to this musical evolution.
