DescriptionStefan Gubatz Distanz album.This album was not inspired by Brian Enos Music For Airports, Stefan Gubatz remarks/ hisses when he talks about his debut album on Telrae.His album is the result of waiting room situations and undoubtfully it is an atmospheric piece of music which is based on landscapes of sounds, abstract beats... altogether creating an intense atmosphere not unlike his track Transistor on Telrae 009.
Stefan has recorded two 10s on Telrae so far and several remixes for the label filed mostly under the genre of dub techno.This album exceeds this genre categorisation but also keeps elements and key aspects of deepness.That his airport inspired concept failed to materialise is another story we will turn to later...
Originally the project was triggered of by the idea of making music in a comfort and safety zone while waiting for a delayed plane.As everyone knows, these hermetically sealed zones defy time... and time altogether gets a different meaning or better time itself is deprived of its meaning hence there is no such thing as time anymore. In such a place, and there is no such other place in the world, Stefan started to write his 10 minute a piece epic trax, 8 different tracks.But the concept came to an bitter end. Intrigued by the quietness and also the coldness (it was winter) all of this reminded him of his home town in Nordfriesland/ North Sea always cold always bad weather as he puts it... the connection to the North Sea was easily made... and since the concept of writing music in comfort zones had to be abandoned after delays where too small to write music in, hence 2-3 tracks were recorded in his home town Husum.
The intention of the album is nothing more nothing less than to create an atmospheric intensity. The atmosphere is on the surface of all of the trax very similar but when you listen to them the music is very different. The whole album was recorded two years ago and took him a year to finish... and inspired him later to start with his 10 inch releases on label Telrae. The making of the album gave Stefan access to the field of dub techno productions without aiming specifically at the genre. For him it seemed just appropriate enough to capture his feelings. All tracks are connected to each other creating a perfect flow, but will also be available as single trax.
The opening track of the album Byte And Scratch is an acoustic voyage of sound. Sounds that travel from very far away creating a seemingly cinemascopic feel of vastness. Like a living organism sounds keep shifting and bouncing vertically and horizontally, beats keep changing and reforming. Steadily the track grows and amounts to an industrial size soundscape.T
he following track Cologne starts with a bubble of delays, as the city is surrounded by mountains, also this track is a boiling pot of sounds that gains shape in the course of the track. This track also has a strong build up which eventually leads to a tight beat structure that attracts sounds like light does with moths. The process of transition is such a smooth one that you can hardly grasp how the track started and this is what it is all about with abstract dub.I n the middle the track folds together in a smart way and reorganises itself later.
Villa Nicht could be described as a technoish track, it describes a steady and continuous movement (tight) we associate with pioneers such as Porter Ricks or Thomas Köhner or Monolake. Vitamin is a very uplifting and vital track almost pop flavoured. Tones escape the machines and mighty basslines join and create together an archaic form of a song. But Stefan Gubatz is aware that isolation and chilliness can not be by besieged by pop itself and so the track airborns back to its point of destination.
Metal Worms is born out of noise and echoing sounds and changes its course quite heavily, the acceleration/ expansion is felt but not heard, metallic sounds convey a sound of urgency. At times almost painful... the sound morphs into an endless sequence of metallic sounding contortion. This track could be more of an underwater experience than an airborne.
Offshore is all wind and flogging sounds and pure sound installation one thinks until the beat structures kicks in and provides it with some western soul... that reminds us of early Kompakt ambient releases or New York Trip Hop Dub. This is for the comfort zone of a cosy club rather than for the cold seats of an Canadian airport.
Slow On Ice turns towards a nasty geiger counter sound or sounds of cracking cake ice.A bit of a paranoia is taking place here. The track is a loosely knit piece of music. Whatsoever this is not a track you should listen to while flying.
Nord is again a stronger composed track with a stronger shift of motions advanced drumming and sounds that rotate in slow motion, very sexy. To add some last words, we think this album is pure lava, a simmering affair and a real journey. The photo of the cover was shot by Stefan Gubatz himself at one of the airports he spend time in.It reminded him of a surreal picture in which foot passengers walk towards a bright light... into the apocalypse... he had to pull the trigger put the scene on celluloid.