Dry, laconic deep-sound/hi-hat combinations set the beat, interspersed with intermittent 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. In one sense this lends the album a minimalist 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 (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’s - aka Frank Bretschneider - eighth album. GOLD evolved over a long period of time, and 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.