Algeria, Antigua and Barbuda, Aruba, Australia, Azerbaijan, Bahamas, Barbados, Belize, Bermuda, Bhutan, Bolivia, Bonaire, Saint Eustatius and Saba, Botswana, Brunei, Burkina Faso, Burundi, Cameroon, Cape Verde, Cayman Islands, Central African Republic, Chad, Chile, China, Colombia, Comoros, Congo (Brazzaville), Congo (Kinshasa), Costa Rica, Cuba, Curaçao, Djibouti, Dominica, Dominican Republic, Ecuador, El Salvador, Fiji, French Polynesia, Gabon, Gambia, Ghana, Grenada, Guadeloupe, Guatemala, Guinea, Guinea-Bissau, Guyana, Honduras, India, Iran, Ivory Coast, Jamaica, Japan, Kenya, Kuwait, Laos, Lebanon, Lesotho, Liberia, Libya, Madagascar, Maldives, Mali, Martinique, Mauritania, Mauritius, Moldova, Monaco, Mongolia, Montenegro, Morocco, Myanmar, Namibia, Nepal, New Caledonia, New Zealand, Nicaragua, Niger, Nigeria, North Korea, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Reunion, Rwanda, Saint Helena, Saint Kitts and Nevis, Saint Lucia, Saint Vincent and the Grenadines, Samoa, Saudi Arabia, Senegal, Sierra Leone, Singapore, Somalia, South Africa, South Korea, South Sudan, Sri Lanka, Sudan, Suriname, Taiwan, Thailand, Trinidad and Tobago, Tunisia, Uganda, United Arab Emirates, United States (US), United States (US) Minor Outlying Islands, Uruguay, Uzbekistan, Vanuatu, Wallis and Futuna, Western Sahara, Zimbabwe
This is Gajek. This is ’17. Don’t worry if you see a flute in the sink.
Matti Gajek’s follow-up to his 2014 debut album ‘Restless Shapes’ opens the floodgates to signals from a future best navigated by ear. Moving through polyphonic pulses, layers of grooves and sounds, zooming in and out of ever evolving patterns of concentration and decomposition, the ten tracks of Gajek’s ’17 are electrifyingly futuristic clubmusic true to the almost five decades old motto of Berlin’s Zodiak Free Arts Lab: „Total freie Musik“ – totally free music. Paying tribute to electronic pioneers like Hans-Joachim Roedelius and Florian Fricke – while staying clear of historical mystification – Gajek revisits the abstract clarity and improvisational audacity of 1970s electronics from a perspective firmly rooted in the digital now – this is not ’71. Today, motoric rhythms emerge and elapse from postdigital aural scapes, intense and sublime, linking the thermodynamic to the ephemeral. Beyond the echoes of past utopias, ’17 discovers present signs for possible tomorrows.