Danach

by COMPEST

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1.
03:35
2.
06:21
3.
07:27
4.
03:45
5.
05:18
6.
04:48
7.
05:48
8.
05:40
9.
03:20

about

Recorded in 2014
© Martin Steinebach
martin.steinebach@t-online.de

credits

released December 7, 2014

Compest is German composer and producer Martin Steinebach, offering up a seamless 40-minute suite of lavishly orchestrated pieces that combines strings with ominous metallic percussion. Unlike other composers versed in noisy musics who decide to turn “neo-classical” and all too often produce kitschy ersatz 19th-century symphonies, Compest manages to fuse all his influences into a consistent whole with a high degree of immersiveness.

“Soon everything is post,” says the sleeve note, and true to this creed, this album is confidently postmodern in combining minimalist drones with ritualistic post-industrial accents and lush, indulgent tonal chords that would make every self-respecting New Music composer squirm with self-loathing. And that is a good thing, because this total disregard for narrow-minded pigeonholes both in and outside the underground scene is what gives this album its particular quality.

File under: Ambient

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VITAL WEEKLY:
It's been a while since I last heard music by Martin Steinebach, also known as Compest (and also Monoid, Stillstand and Conscientia Peccati, and who also run/ran the Tosom label). Each of his projects has a distinct sound of it's own and as Compest he sampled orchestral music and recreates these into his own orchestral music. At least that's what I assume, and that he's not some modern day Mike Oldfield, playing all of these instruments himself. So maybe it's sampled together, maybe he uses something like Garageband. And as you know me: I don't care that much what went into the pot if the dish is really good, and that's what it is. Compest has these long sustaining string sounds, church organs, brass sections and just a little bit of electronics sometimes and occasionally a bit more. I must admit I don't recall very well the previous Compest release (which was, I believe, reviewed in Vital Weekly 845), but this combination of old orchestral sounds and 'new' electronics works rather well. It has a sort of interesting cinematic quality to it: I can easily see bits of this used in a Hollywood blockbuster; sci-fi department perhaps, or fantasy, depending on the mood of the piece (and the director). Although, come to think of it: how would a release in an edition of 47 copies reach the big pictures? That's perhaps something to think about. There is perhaps a 'gothic' element to this music, being 'dramatic' from time to time, but I must admit I enjoyed this very much.
(FdW)
www.vitalweekly.net/966.html

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BAD ALCHEMY #84:
For I have many names. Martin Steinebach jedenfalls ist mir in verschiedenen Masken ent­gegen getreten, als Conscientia Peccati, Monoid, Stillstand oder COMPEST, einst auf taâ­lem oder Tosom (wo sich nach mehrjährigem Stillstand wieder Lebenszeichen abzeich­nen), hier mit Danach (ACF 1002, CD-R). Ob als Abgesang auf Bestehendes oder Lobge­sang der Vergänglichkeit, düsteres Orchesterpathos und Kirchenorgel wie bei ner Toten­messe geben dem Optimismus wenig Nahrung. Oder allenfalls jenem Optimismus, der sich sagt: Das Schlimmste liegt noch vor uns. Erfreuen wir uns an dem, was wir haben (in Der Club der unverbesserlichen Optimisten). Der Synthiesound ist, wenn nicht sakral, so doch durchwegs feierlich und getragen. Die rückwärtsgewandten Anmutungen zahlen dem postindustrialen Zeitgeist Tribut durch sirrende Elektronik und Ritualbeats auf Ölfässer oder Donnerbleche. Das Orchester tut, als wäre es mit echten Bläsern und Steichern bestückt, obwohl natürlich der Ersatz Compests Weltanschauung besser transportiert als jeder spätromantische Sirup es könnte. Da ziehen die Elben mit traurigem Gepauke gen Avalon, schon ganz mit Asche bestäubt. So trägt man enttäuschte Hoffnungen im Katafalk zu Grabe, mit Oboentristesse und im Elefantentrott, mit einem Beat, dem die Vergeblich­keit die Glieder lähmt. Doch die Synthieorgel türmt über all das einen düsteren Glanz, als hätte das Zeitalter gerade auf diesen Heldentod hingestrebt, auf diese süße Pracht, der eine pochende Totenuhr in schwarzem Samt die Stunde schlägt. Die trauernden Massen haben nur über verzerrte Lautsprecher an der Zere­monie teil, ich, dem Die Lust am Untergang in die Wiege gelegt wurde, sehe den Weltgeist vorüber reiten. Compest vertont den Untergang so wörtlich, dass man an sterbende Wale denkt, an versunkene Reiche und aussterbende Spezies, beschallt von einem Titanic-Orchester, das nicht aufhört zu sinken. [BA 84 rbd]
www.badalchemy.de

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