Gas have been described at various times as being;
semi-industrial pulsating quasi folk-punk
The Pun Group
Mechanised Gregorian Chants.
Gas have also been favourably compared to acts as diverse as Laibach, early Devo, Wire,
Leonard Cohen, and (surprisingly) The Pin Group.
Review of Gas - Compressed Gas 7 incn EP - http://agitreader.com/primitivefutures/gas-compressed_gas.html
Compressed Gas ep
A couple weeks back, I think it was Mark E. Smith (or his internet
doppelganger) who twittered about Tom Lax playing records on WFMU. The magic of technology keyed me into the stream, and I
can honestly—and surprisingly—say I hadn’t heard of one singular song he played. So can we credit the almighty
guru of the Siltcult as the last reservoir for unheard music from the outer satellites of the Messthetics/Xpressway/Bloodstains
space time continuum? He’s sharing his stash, slowly but surely. With the revival of the Siltbreeze seal of quality,
quickly followed by the Siltbreeze reissue series, he’s taken the task of excavating all the treasures of the New Zealand
underground one 7-inch at a time. First it was Beyond the Implode and now the anonymously named Gas from Christchurch. There’s
always a sense of wonder when playing a record originally recorded in such a remote corner of the world, and I’ve always
thought of the camp from Christchurch to be the oddest varietal of the Micronesian enclaves. Sometime between 1996 and 1998,
this sketchy, yet fulfilling (6 songs in 14 minutes), document was hashed out by the city’s “obscure fringe,”
a group of musicians culled from McGoohans, Shallow and Scorched Earth Policy (I’m only familiar with the latter).
Gas EP may be caked in the same fidelity you associate with Silt-alum like Dead C and the Shadow Ring, and may have
been recorded in the same timeframe of the same dying decade, but what Gas do here resembles something more intrinsic to an
earlier dawn when proto-punks roamed the earth and the idea of releasing independent records was the sperm in the crotch of
guys like Fowley, Shepard and Rep. Of course, we’re playing with historical fiction here, as if Gas wrote “Thirst”
after their first night out with Pere Ubu, where all intentions were to make it slower, slimier, sexier and somehow more sinister.
time warp continues in this brief jaunt, but in spots there are incidents that bring Gas closer to the near-present—or
at least to an era when airmail out of NZ took at least a month or more, so as to not clue in the world so quickly. “Legend
of the Golden Maidens” has a steam-punk chug and charge flattened by a gravelly riff and cut with sinister, pickaxe
melodies. There’s almost a groove to it, reminding me of what Pink Reason could become were hips to get involved. “Cubicle”
lives by that comparison, except it’s a bit of a downer, singing about “ventricles,” “combustion”
and “apoplexy” in a boarding room sucked of air. The influence of the Velvets on anything and everything is established
on “Another Poor Fuck,” a quick Reedian romp by way of the Clean’s bubbly organ chirps.
Gas save the
best for last in “Pushing Against Me,” which plays like pop in apocalypse, puttering around in an abandoned factory,
the skeletal remains of the Davies brothers being used as percussion while the dull pulse of dying battery-run Casios is heard
beyond the horizon. Then again, I’d like to think this was a Troggs outtake dug up and dusted off, posing as a caveman
“Louie Louie,” replacement-hip limping, bohemian uncle. A man can dream. Word is this will be repressed, so those
that missed the first boat, hold tight.
Kevin J. Elliott
The collection featured a cross-section of work, from soft-focus psyche-pop ("Melody
Fair") through crunching neo-metal ("Veil Of Secrecy")and dark, percussion-free recriminatory thrash-outs ("Bedwire")
to a final haunting, echo-swathed pop confection ("Perverse Anathema"). The latter featured memorably eerie keyboards
by Elborado and lyric phrases lifted directly from a biography of the Smiths. Recordings were mostly four-track, but Belmondos
percussion-free folk/punk "Speak No More" was two-track and Blenkinsops "Hinged And Unhinged" was eight.
By the time Peculiar Atmospheres appeared, the band were joined by guitarist/bassist/vocalist Guy Scollay and
the sound expanded. Scollays one contribution to the cassette, "Veil Of Secrecy" exemplified this, as did live appearances
(where combinations including up to a wall-of-noise four guitars-at-once were employed) and their ongoing recording work.
The Ten Inch Geraldine Pressing
Gas explored the bands experimental side, with the 10-minute "Dark
Side Of The Cusp" taking up all of side one. Bordered by immense valleys of moaning guitar feedback, bass abuse and keyboard
interference, the central section of "Cusp" was a slashing, robotic song-chant by Belmondo which rode the steady,
motorik groove of a drum-sample taken from the Electric Prunes "Train To Tomorrow". The bass-rhythm outro piled
on the intensity with the band shouting, playing harmonica and banging bits of metal. Vocal samples from "Captain Scarlet"
and "Beyond The Valley Of The Dolls" were carefully placed, and for good measure some noir unease was added in the
form of an excerpt from the soundtrack of an anonymous TV thriller.