'10 Years Of Głós: The Essential Live Mix' is a special mix that contains all the classics and all your favourite club bangers that I made in the last ten years. 

It's both a celebration for long-time followers as well as a showcase for new listeners, illustrating how a Głós live show can sound like. 

Tracklist: 

1. Głós – Twenty-Nine Stabs – Diffuse Reality
2. Głós – Prayer – Escapism
3. Głós – Phosphore (Cut Through Lingerie) – Flyance Records
4. Głós – Psalm (A Handbook That Becomes A Poem) – Escapism
5. Głós – Psalm (Lo-Fi Glamour) – Escapism
6. Głós – Cut Tongues – Ressort Imprint
7. Głós – Cut Throats – Ressort Imprint
8. Głós – Man Is The Cruellest Animal – Ressort Imprint
9. Głós – Twenty-Seven Stabs – Flyance Records
10. Głós – Through Limbs & Wires – Ravage
11. Głós – Ultima – Code Is Law

10 Years Of Głós: The Essential Live Mix

For Głós, Ambient and Techno are but two sides of the very same coin. Subsequently, this new special mix is the logical answer to '10 Years Of Głós: The Essential Live Mix', released a couple of months prior in late September of 2023. 

Highlighting work from his albums 'World Enough', 'When Things Cast No Shadow', and 'Music For Sleepovers', the Berlin and Tokyo-based artist showcases his Noise and Ambient side and illustrates in roughly thirty minutes what to expect of him if booked for an Ambient performance. 

Tracklist: 

1. Głós – Swords Of Revealing Light – Affin
2. Głós – When Things Cast No Shadow (Cut Through Currents In Electric Locks) – Non-Print
3. Głós – Not Text But Texture, Pt. 2 – Non-Print

Ł: A Short Ambient Live Mix

A Tribute To Ozzy Osbourne: Crazy Train (Głós's Prince Of Darkness Edit)

Closing the chapter that 'Music For Sleepovers' and 'Music For The Morning After' opened, this mix gives an insight into what kind of music @prayforglos got inspired by while creating last year's aforementioned two Ambient albums.

Presented in the form of a fake radio show, the selection of personal R'n'B favourites might look odd at first glance; those with an open mind though will recognise the similarity in atmosphere and will be given an insight into how music from a seemingly devoid genre can influence another one.

"I honestly don't remember how I got into this kind of music. Some YouTube algorithm sorcery might have lead to this and if anyone would have told me I'd one day be into R'n'B  when I was still into Rock, I would have told them to fuck off. But you know what I like about it? The same thing that I like about novels by Charles Bukowski and Henry Miller: they're brutally honest."

John Cage once said, he liked beautiful melodies telling him terrible things. "It's the same way with these songs", @prayforglos explains, "you have those soft, beautiful voices singing about the most terrible things. It's highly sexual, lyrically often abusive and very dark. And the protagonists don't dress in black robes for show like Goth and Metal dudes do, they dress in high fashion. I feel a specific fascination for the dark and ugly with this, if you know what I mean. But there's also a lot of acknoledgment for guilt underneath the surface. It's complex."

Further devotion to R'n'B are less likely for @prayforglos, though. "I'm an Electronic music artist. This was an interesting excursion, but it mainly served as some sort of background check. I'm really proud of 'Music For Sleepovers' and 'Music For The Morning After' as a double-pack and wanted to give a little more insight on where it's coming from. But this chapter is now closed."

Music For Break-Ups

Non-Print label head and producer Głós wants to create something outside of the conforming realm of Techno. He has already reinvented his early work through his first album, and his lucid yet straight-to-the-point productions continue to reveal a rarefied character. 

Głós (pronounced ‘Gwos’) has made a point out of not following the sometimes linear Techno patterns with his artistry. He comes from a band-focused Rock-environment and runs his own label, arranged to be a wildly experimental project. In his earlier years, Głós was in several ways a close contributor to the Ressort Imprint label—founded by fellow producer Ekserd—since its start in 2013, already then having left his native Poland to become a Berlin citizen. 

Głós’s successive platform, his very own label Non-Print, released his debut album ‘Fem’ in September 2018—marking the exact five year anniversary date of his first EP, ‘There Is No One Like You’ (Ressort Imprint, 2013). The producer describes it as ‘a collection of re-works as well as new material without any creative limitations’. ‘Fem’ is presented as one continuous mix—with each of the tracks being available in their own individual entity. 

As a producer and performer, Głós’s background, which is a very hands-on analogue way of working—recording for example distorted keyboards and guitars—continues to influence his music. The industrial rawness of these elements are still present in his Techno, only now existing mantled by a softer Drone- and Ambient-type of layer. Głós portrays filmic scenes in his music. You are surely guided by the kick-drum, but the productions are spatial—distant rave signals and voices echo in a fantasy-like landscape. 

His live performances are often a hybrid of his own work and others. The Techno is pure Głós, but in various parts he manipulates selected Ambient pieces, making them his own for his distinctive shows. Again a situation where Głós’s live band-background plays a big part. 

‘Trinity’ is the Berliner's self-proclaimed opus magnum with a playtime of about 5.5 hours that was released on Głós’s own Non-Print. Fresh off the press since then are his latest EPs ‘Swimming In Colours’ and ‘Serenity’ on Affin, showcasing a different approach of Głós opposed to his more up-beat productions made for the dance floor.

Głós

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