No, I didn't miss this in February! I only ordered it alongside another record which hadn't been released yet.
But here it is now, album number three of Sum Of R mastermind Reto Mäder's and Mono drummer's Dahm Majuri Cipolla's duo JeGong:
But here it is now, album number three of Sum Of R mastermind Reto Mäder's and Mono drummer's Dahm Majuri Cipolla's duo JeGong:
JEGONG - Gomi Kuzu Can (Glass Clear vinyl LP) (2026)
As always both musicians are responsible for all instruments - which include hypnotic bass, motorik drums and percussions, trippy and noisy analogue synths, mellotron, occasional guitars, samples and effects. And on "What Ever Happened To The Gene" Dahm even surprises us with some decent clean lead vocals in German accent Krautrock style.
The natural expectation of what a band like this should sound like is of course a mix of their respective main projects, and once again this is true for JeGong, but not in a 50/50 ratio. Especially the parts reminiscent to Mono have rather decreased in comparison to the more Post Rock influenced predecessor "The Complex Inbetween".
While grand escapist textures in that direction are still being teased in tracks like "Sister", most of this album focusses on a repetitive Psychedelic purity layered with Ambient and Noise. Similar to the last Sum Of R record there's a lot of eeriness and darkness on "Gomi Kuzu Can", but this album omits the outright evil escapades and leans more into cosmic and retro-futuristic atmospheres, with vibes all in all reminding me more of recent electronic Ivan The Tolerable solo works.
btw: With the obvious reference to Kraut legends Can in the titles of the album and the track "Müll Schrott Dose" ("garbage scrap can") I'm of course now wondering if Mäder also thought of them on Sum Of R's "Beer Cans In A Bottomless Pit" now.
But back to the release at hand: My favorite feature of JeGong's new work is its all-embracing analogue warmth. "Gomi Kuzu Can" baths in a 1970's feel with relish and obviously follows a nostalgic impulse, but it doesn't just copy what has already been done. Instead Mäder/Dahm find their own timeless sound and once more confirm the special impression their live debut gave me at Roadburn 2024.
As you can see below the vinyl in a gatefold cover is also a beauty, so why haven't you given Pelagic Roecords your money yet?
The natural expectation of what a band like this should sound like is of course a mix of their respective main projects, and once again this is true for JeGong, but not in a 50/50 ratio. Especially the parts reminiscent to Mono have rather decreased in comparison to the more Post Rock influenced predecessor "The Complex Inbetween".
btw: With the obvious reference to Kraut legends Can in the titles of the album and the track "Müll Schrott Dose" ("garbage scrap can") I'm of course now wondering if Mäder also thought of them on Sum Of R's "Beer Cans In A Bottomless Pit" now.
But back to the release at hand: My favorite feature of JeGong's new work is its all-embracing analogue warmth. "Gomi Kuzu Can" baths in a 1970's feel with relish and obviously follows a nostalgic impulse, but it doesn't just copy what has already been done. Instead Mäder/Dahm find their own timeless sound and once more confirm the special impression their live debut gave me at Roadburn 2024.
As you can see below the vinyl in a gatefold cover is also a beauty, so why haven't you given Pelagic Roecords your money yet?
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