Description
Pelagic Records is proud to unveil ‘Gomi Kuzu Can‘, the bold and genre-sculpting new album from JeGong, the collaborative force of Dahm Majuri Cipolla (MONO) and Reto Mäder (SUM OF R.). Known for their immersive, rhythm-driven explorations of Krautrock and experimental sound design, JeGong now take an exhilarating leap into brighter, nostalgically stranger territory.
‘Gomi Kuzu Can‘ is an electrifying journey through Kraut, Post- and Experimental Rock, delivered with the analog warmth of the ’70s.
Across eleven meticulously crafted tracks, JeGong embrace their roots while fearlessly expanding into neon-lit, beat-driven worlds where kinetic rhythms meet playful sonic futurism. It is music built for movement, contemplation, and the ecstatic strangeness of possibility. Their approach borrows the endurance and patience of minimalism, but they subvert minimalism’s austerity with grit, distortion, and physicality. The result is music that feels alive in motion: constantly shifting, tightening, unfurling, and mutating even when its core pulse remains unbroken.
“We wanted to create a ‘70s sound as the recording foundation – a sonic aesthetic that sets a mood through warm tape saturation. Like a kind of memory box where you can store recollections, for example from childhood, when you would spend hours by yourself watching TV and listening to the radio, often both at the same time.“ (JeGong)
Where the band’s previous work focused heavily on hypnotic repetition and densely textured atmospheres, ‘Gomi Kuzu Can‘, introduces a buoyancy, an almost mischievous sense of color and motion. Cipolla’s drumming, long admired for its emotive precision and understated power, becomes a living sequencer here: crisp, driving, and engineered for propulsion. Mäder’s analog synths, tapes, and electronics weave around this rhythmic backbone with a vibrant palette. But make no mistake, this is JeGong through and through. The duo’s command of dynamics, texture, and sonic narrative remains intact, even as they steer into danceable BPMs and bright, retro-futurist tones.
“Our sound has evolved gradually, shaped both by intentional choices and by spontaneous experimentation. On this album, we deliberately explored new textures, arrangements, and production techniques, but we also allowed ideas to develop organically, letting songs grow and change naturally throughout the process. Additionally, it’s more song-oriented in the classical sense of songwriting and song length. This also allowed us to weave in more unconventional sounds, such as TV announcer narrations, choir parts from a Mellotron or synth sounds with a retro-futuristic character.“ (JeGong)
At the center is the duo’s uncanny rhythmic intuition: drums that pulse with krautrock steadiness, bass lines that swing between monolithic foundation and crude melodic insistence. Together, these elements create a sonic environment that feels both mechanical and deeply human, ritualistic yet instinctual.
“Patterns”, the arcade spirited, danceable track that sets the stage for the album’s hybrid world: nostalgic yet forward-thinking, grounded yet euphoric. Like a chase sequence through a pixelated cityscape, “Patterns” taps into an unwavering rhythmic force, but beneath that propulsion lies something more reflective: a contemplation of repetition, a fascination with cycles, a sense of movement that feels as psychological as it is physical. Their sound invites the listener to immerse fully, not merely to hear but to inhabit.
“Parallel Tracks” with its playful metallic clatter and sharp percussive hooks, the track is a celebration of sonic detritus: discarded textures reassembled into something unexpectedly danceable, with darker grooves and sinewy rhythms. Here JeGong lean into a shadowy, post-punk-tinged energy, conjuring a sense of nocturnal movement. It’s a track that exemplifies JeGong’s ability to turn experimental instincts into something irresistibly physical. Sparse in its opening, it finds a groove amongst the accumulating tension that plays throughout, and eventually rises into a swirl of techno-tinged chaos.
“The album was recorded over a period of two years, in different places and with different tools. We spent more time on it than on our previous records, which allowed us to choose a selection of songs that truly fit together as one album. So this time, selection played a much more central role – as did creating multiple versions of the same song and continuously developing the arrangements, adding or removing elements along the way. This also allowed us to further shape our own musical taste. People often forget that, as a musician, you are your own first listener. So your personal taste plays a big role, and it can change over time. This way, we had the opportunity to reflect on the songs again and again over the course of two years.“ (Reto Mäder)
One of the album’s most striking achievements is its analog warmth. In an era dominated by pristine digital surfaces, JeGong embrace imperfection: human element in every beat and modulation. ‘Gomi Kuzu Can‘, is hand-built, lovingly assembled from circuitry, intuition, and raw creative impulse. This tactile quality is precisely what makes the album’s danceability so impactful. In blending organic rhythm with retro-electronic brightness, they’ve created a sound that is both familiar and refreshingly new.
“Playing live had a big impact. After our second album, we only then started holding live sessions, and we had our live premiere at the Roadburn Festival 2024. Through this, we discovered that for the live setting, the bass guitar, as a grounded element together with the drums, takes on a more central role. Playing live also greatly increased our trust in each other in several ways — how tight things need to be, and how far we can each step away from one another without everything falling apart. Unless, of course, you want it to!“ (Dahm Majuri Cipolla)
In “What Ever Happened To Gene” JeGong use their 3rd single to lean into a narrative mystery in this vocal lead track. A tale told through wistful melodic motifs that seem to search for something just out of reach. Ambient textures and submerged melodies drift, creating a meditative counterpoint to the album’s more kinetic moments. It’s a reminder that JeGong excel not just at propulsive rhythm, but at emotional spaciousness. Its glowing harmonies and gently ascending patterns evoke nostalgia without tipping into sentimentality; a delicate balance the duo hold with finesse.
In the infectiously groovy “Chalk”, JeGong create looping patterns that are rhythmic but dusty, like a scratched tape loop rediscovering its pulse, the track builds intensity behind a curiously hypnotic frame. Tribal beats, delicious touches and ghost sounds are buried within to create delicacy and tension throughout this suggestive track. “Chalk” is all at once adventurous, colorful and joyously strange. In its finale a surge of dismantling static and ambience, the hypnotic trance stretches out into possibility.
With ‘Gomi Kuzu Can‘, JeGong reaffirm their status as sonic explorers; artists who are not content to repeat themselves, but who bring their deep musical vocabulary into bold new configurations. This album is not only a testament to the duo’s collaborative chemistry, but a vibrant, playful, and fully realized statement that widens the boundaries of what experimental rock can be.
“Our curiosity is still very much alive, as is our playfulness in trying out new things.“ (JeGong)
In the end, JeGong’s sound is less a genre and more a landscape: rugged, hypnotic, austere, and strangely spiritual. It is music built on the bones of rhythm and the electricity of repetition, crafted with the precision of engineers and the instincts of explorers. With ‘Gomi Kuzu Can‘, they reaffirm their position not only as sonic technicians, but as creators of immersive, transformative environments that demand and reward deep listening.
FOR FANS OF
Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn
