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viewing 1 To 14 of 14 items
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3LP
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PROFAN 051LP
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33 abstract, electronic arpeggiator sound frescoes from 1995. For the first and last time on vinyl. Because de-interpretation times timelessness equals re-enchantment.
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2LP
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AI 022LP
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Limited restock. Long-time Astral Industries associate Wolfgang Voigt returns to the London label with his next album, Rückverzaberung Exhibition. The Exhibition reimagines the concept with renewed purpose, opening the gates to deliver an arresting 60-minute journey into the underworld. Dense soundscapes mutate with alchemic fluidity, unravelling with vast symphonic counterpoints and synesthetic textures. Intoxicating in its Mephistolean dissonances and ambitious sonic structure, the sprawling Rückverzauberung itself becomes a nebulous organism shrouded in the seeping mist of the unknown.
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2LP
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AI 002LP
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2015 release. Then it was time for the man himself, Wolfgang Voigt. This, to put it simply, was a masterclass in ambient music. The sounds, beautiful; the transitions; perfect; the experience, unforgettable. The sound emanating from his quite simple set up filled up the church completely, in a room lit only by a few candles, his music shone through and brought everything to life. Everyone and everything became one with the music, moving with its ups and downs, delighting in its near perfection.
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12"
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PROFAN 040EP
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Apodiktische Gewissheit ("apodeictic certainty") is the title of a cooperative audio-visual project from Berlin-based artist Gerhard Mantz and Wolfgang Voigt. The project is premised on a digital video piece from Gerhard Mantz. Steadily flowing geometric forms and themes move evenly around a fixed center towards the viewer. A hypnotic undertow-like effect of seductive beauty emerges - impossible to elude. Wolfgang Voigt seizes on the digital aesthetic and the mechanical flow of the images, giving them a musical equivalent. The result is a successful amalgamation of imagery and music that generates maximum intensity with minimum motion.
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CD
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PROFAN 016CD
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In celebration of the opening of German national park Hunsrück-Hochwald, Wolfgang Voigt has conceived an abstract, ambient-infused sound installation which can be experienced as a kind of "acoustic hike through the forest," thanks to a series of loudspeakers allocated in a natural environment. This approximately hour-long piece of music is a freeform improvisation on a classic sonic scenario made of strings and winds, processed with electronic means. The rather elegiac billows of sound flow into each other and part again, like a musical early morning fog in a "reverse-enchanted" woodland. They weightlessly trek alongside auspicious shadows of atonality, across gentle hills and valleys, through gleaming clearings into eternity. The visual equivalent to this fantasy can be found on the CD cover, by way of a hypnotically focused view of a forest and its intricacies -- harkening back to Voigt's Gas concept series and the '90s albums Königsforst, Zauberberg, and Pop. As with Gas, both the music and the visual design of Rückverzauberung 10/Nationalpark formalize an essentially Voigtian simultaneity of an idea of romanticism based on nature-induced rapture and an approach to the beauty of surfaces trained by pop art. Nationalpark is the tenth part of the open concept series Rückverzauberung.
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CD
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PROFAN 015CD
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In 1993, Kompakt co-founder Wolfgang Voigt established the iconic fringe imprint Profan to provide his own idiosyncratic ideas of techno music with an uncensored, liberal publishing platform. From the very beginning, the label stood for a rampant love of experimentation and Voigt's unruly urge to habitually plough through new -- and for the most part difficult -- musical territory with a straight bass drum. Driven by incessant transgression of boundaries and genres, Voigt ransacks schlager and polka, classical and pop styles, sampling his way across music history. Since 2009, Voigt has focused on increasingly abstract and creatively elaborate art and music releases on Profan, which led him to launch the Profan sub-label Protest in 2010, where the expressionist pop techno 12" single á la Voigt has found sort of a second home, heavily informed by his paradigm of sex, drugs, and pop art. Originally only available on strictly limited vinyl, a selection of remastered Protest tracks has now found its way onto CD, with two previously unreleased bonus cuts. The compilation Protest - Versammlung 1 provides a representative overview of the current state of Cologne techno, indulging in the gaudy funkyness of one of its masters and pioneers.
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CD
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PROFAN 014CD
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A fanfare of cautious grandeur rings out as if it were the opening for indeterminate festivities, only to be immediately reflected by itself. In ever new mirrors. In the hall of mirrors. The room inside a room inside a room. Time is a very elastic concept. Narcotic brass loops, almost imperceptibly modulating, reel towards infinity. A '70s Kraut electronics sequencer feeling coquets with James Last's muzak sound and Cheb musicians on Valium. Stoic, infinite, limp. Programmatic boredom as rhetorical device of befuddled bliss. Only the occasional cloud of atonality suggests the abyss behind the blue skies of (pop)ambientish other-worldliness. Limited pressing of 500 copies.
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12"
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PROFAN 036EP
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Originally the B-side to Rückverzauberung 2, "Du Musst Nichts Sagen" marched towards a dark fortress, following a point-blank trail and inspired by the mute grit of the many. The remixes present three distinct alternatives, starting with the "Fanfaren Mix" that cranks up the amount of fanfare, the "Informel Mix," created as the soundtrack for an experimental video (http://youtu.be/49_-S5nWdMI) and the "Doppelvoigt Mix" which takes an interview given by Wolfgang Voigt and translates it into some sort of document of techno both abstract and humoristic.
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CD
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PROFAN 010CD
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For Wolfgang Voigt, techno is a means of constantly reinventing himself. After the publication of the highly idiosyncratic Freiland Klaviermusik (PROFAN 009CD), the two Sog records Abweichung and Fremde Hände, and Du Musst Nichts Sagen, on Profan, his new album Kafkatrax is dedicated to the human voice. As in previous projects, Voigt is solely interested in the sound and the structure of the original material -- in this case, recited text. Using various cutting and covering techniques, he disassembles the text into a disturbing, abstract "literature rap" that at best creates an illusion of comprehending fragments of the shredded words and sentences left over. In combination with Voigt's typical Umta techno beat, the outcome is a kind of vocal polka consisting of voices and their side acoustics that sound like psychedelic without guitars or acid without 303. The fact that Voigt used a Kafka audio book CD, reminiscent of his literary preferences as a teenager, is entirely meaningless to the final musical product -- Voigt is only interested in the sound of recited vocal text. He could have equally used Thomas Mann or the Grimm Brothers. What is interesting, however, is that by covering and layering the voices across up to 5 octaves, a claustrophobic, nightmarish atmosphere is created that can definitely be described as Kafkaesque.
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12"
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PROFAN 034EP
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Another eagerly-anticipated 12" from Wolfgang Voigt's newly-revived Profan label. Including part two of an exclusive track released on the Pop Ambient 2011 compilation (KOMP 087CD/KOM 223LP) that sonically describes the Profan concept. Gas-eous harmony that glows and leaves you wanting more.
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12"
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PROFAN 033EP
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Profan presents the original version of Wolfgang Voigt's hypnotic minimal track "Verwandlung" as well as "Geduld" from the album Freiland Klaviermusik (PROFAN 009CD). DJ Koze has created an incomparable remix that has the potential to make this track a massive floor-filler, and in doing so, he has effectively integrated all of the relevant and original piano parts of the track.
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CD
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PROFAN 009CD
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If experimental minimalistic dance music as we know it today had existed during the lifetime of Arnold Schönberg and Paul Hindemith, it might have sounded much like this present album. Something fascinating and possibly well known, is that Kompakt label founder Wolfgang Voigt has a fondness for historical music like this. Freiland-Klaviermusik stays true to this idea, maintaining its focus on music composed for the piano, but composed with a very different approach. It's once again Voigt's effort to find a musical structure that eliminates the boundary between freely-improvised "virtuosic" music and fine-incremental sequencing of a computer matrix. In Voigt's Freiland project there is one underlying theme; one single sound varied in many different ways surrounding the main idea of minimal-techno music: the four-to-the floor bass drum. In this case, it's a synthetic piano, which moves between rhythmic and abstract, between deliberateness and coincidence, within a somewhat predefined structure. Sometimes the clock of the bass drum does not accompany its presence at all. The present aesthetics of atonal, sometimes Kafka-esque and early 20th century classical music are rather a "pleasant by-product" than an authentic classical-music statement. Blasting borders and breaking rules to create apparently new revelations has always been Voigt's drive. Apart from his timeless preference to adopt different musical styles such as classical-music, jazz, schlager or brass music into his own music, in this case, Voigt's encounter with the music of composer Conlon Nancarrow (1912-1997) was an important influence. In Nancarrow's work, Voigt found strong parallels to his own; the search for unpredictability and spontaneity, often affecting his way of working, to find a symbiosis between man and machine. This approach has also influenced Voigt's work as a visual artist. The front cover of the record presents an excerpt from one of Voigt's Tetrapak-paintings, in which he covers, combines, and confronts a predetermined mechanical structure (pattern, wallpaper ≙ loop, pattern) with more or less a free, progressive, and rhythmic painting technique. The current releases on Voigt's re-launched '90s label Profan together with the reunion of his music with his lesser-known work as a performing artist represent that in 2010, Voigt sees minimal music through as it relates to minimal art rather than minimal techno. It could also be that Voigt believes that art can express complication and pain in ways that the minimal techno of today cannot.
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Book w/CD
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R-N 102CD
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Softcover book/photographic art catalogue with exclusive audio compact disc included, 128 pages in full-color, shrink-wrapped together. For the first time ever, Wolfgang Voigt aka Gas presents the visual aspect of the comprehensive Gas project in print. It is not meant to be a monolithic retrospective of his visual work, but it features a broad spectrum of photographic images taken between 1995 and 1998, showing many different moods and perspectives of Wolfgang Voigt's cosmos. What they all have in common is the mystical focus and seemingly, the blurring of boundaries between lightness and darkness, happiness and depression, kitsch and art, pixels and leaves. With the enclosed CD, Voigt has opened his treasure chest and presents some well-selected, rare jewels from the very early days (and nights). Four of the five tracks have never been released or played before. In the middle of the 1990s, Wolfgang Voigt, better known under a great many pseudonyms such as Mike Ink, Studio1 or Grungerman, and the driving force behind the rise of Cologne minimal techno, had reached a temporary peak in his career. Going back to the 1980s, Voigt began working under a self-realized concept he named "Blei." Taking in the most varied sound models, he began to extract elements from classical, polka, or brass music, and along with electronic pop music and German schlager sounds, formed a distinguished and unique pop music style that would fit in with the subculture at that time. In the early 1990s, influenced by techno, Voigt began to experiment with a timbal marching through strongly alienated, free-floating string loops. These elegiac tracks, their lack of beginning or end, their intoxicating, smooth, and partly amorphous structure sounded to him like evaporating gas and thus, Gas music was born. In his music, Wolfgang Voigt does not create a direct reference to the original sounds he alters; rather, he tries to reduce the material to its basic aesthetic structure by using different zoom, loop and alienation techniques in order to release it from its original meaning and context. His intention is to create a kind of aesthetic essence, a cave (detail/loop/repetition) where you can get thrillingly lost.
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12"
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PROFAN 030EP
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"Freiland Klaviermusik is radical, puristic, uncompromising, elegiac, difficult, defiant, true and absolutely necessary.The record, including art cover designed by Wolfgang Voigt is strictly limited."
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viewing 1 To 14 of 14 items
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