At the Barbican, Voigt brought the forest into a brutalist theatre and it seems to be the perfect environment for it.įrom the sighing opening strings onwards, the set captures the brooding intensity that haunts 2017’s ‘Narkopop‘, sticking closely to the album’s material. When Wolfgang Voigt launched his GAS project close to two decades ago, he claimed he strived to bring the forest to the disco, and vice versa.
SOULLESS GLASS FULL
Given pristine clarity by the Barbican’s sound system and space to comfortably diffuse and evolve through the theatre, the murky detail of Brian Leeds’ music is given full expression. Rather than soundwaves radiating out from a single centre, disparate audio seems to keep being pulled in from around and coalesced into a single, unified point. Structurally the whole set feels like a reversed sonar. Of the soulless glass buildings to the east of the Barbican." "The effect of Huerco S' set supporting GAS is the antithesis At other points something that sounds like the echoes of a steel drum melody without the initial attack.
What could be a grainy, muffled vocal track. Hints of familiar sound float into and out of hearing. The variation is not superficial, but spiralling out from the detail. Opening with a solitary bass hum, the music sticks to a constant pace and rarely goes for cliched peaks or troughs. The effect of Huerco S.’ set supporting GAS is the antithesis of the soulless glass buildings to the east of the Barbican. Intentionally or not, it seems to embody the superficial variety throughout the area. You think for a second that the moving shadow image somehow mimicked your movement, but you realise that it’s the same loop for everyone. You stop to check the movement out the corner of your eye. An art installation close to the venue projects a shadow just behind you as walk past. Millions have been spent to add a warm human sheen, but the cold reality of central London can’t be lifted.
The restaurants, bars and office spaces at eye level give a false sense of variation, attempting to distract from the monolithic buildings looming over you. As you weave through the maze of glass-coated back streets connecting Moorgate to the Barbican, your sense of space and proportion begin to bend.
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