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Er hat es wieder getan... seiner eigenen Tradition treu bleibend, dem synthetischen Ende von Disco ein modernes Denkmal nach dem anderen zu setzen, schafft auch "Don't go" diesen Spagat zwischen Vergangenheit und Zukunft, zwischen Glückseeligkeit und gnadenloser Abstraktion..

2024 Repress

Hurray! PROFAN is back from the future to complicate things again. But let's have a look back in the past: in the mid-1990s, Wolfgang Voigt, under his innumerable aliases (M:I:5, Digital, Grungerman, Wasserman …), unsettled the minimal world and its straight grooves with his right-at-the-threshold-of-pain abstract techno. As a DJ, you sometimes even thought that the vinyl was scratched. "Distort the listening habits until they break up" has always been the leitmotiv of this exceptional artist from Cologne. In 2000 however, after having created another promising trademark: WASSERMANN - W.I.R. that - in spite of or because of its unconventional structure (abstract beat, German vocals) - ranked among the number one hits in any important club and DJ charts and which was even remixed by Sven Väth, Wolfgang Voigt decided to discontinue the label for a while. PROFAN produced two sublabels each devoted to the refinement of specific minimal variants: STUDIO 1 and FREILAND. FREILAND in particular was and still is one of Voigt's projects that manifests his artistic and deconstrucivist approach to the aesthetics of techno beats. FREILAND's concept is radical: the only reference to techno is the bass drum and a sound reduced to the utmost that is moving around it. No wonder that now, eight years after the last PROFAN release, Wolfgang Voigt is back under his alias FREILAND. With KLAVIERMUSIK (piano music), Voigt continues his way towards atonality and electronic art music. The straight bass drum still is the only pulsatile instrument and sometimes it is not even that. WOLFGANG VOIGT / FREILAND - KLAVIERMUSIK is radical, puristic, uncompromising, elegiac, difficult, defiant, true and absolutely necessary. The record, including artcover designed by Wolfgang Voigt is strictly limited.. Greed sucks.

The Berlin based Alexander Kowalski is responsible for projects like DisX 3 (Tresor, Konsequent), Mr. Discoteque (BCC), as Double X together with Stassy (Sender Berlin) and last but not least under his real name Alexander Kowalski exclusive for Kanzleramt. After his debut 12inch for Kanzleramt titled "Live" featured two unchanged live recordings, Alex released his second 12inch "Dark Soul" in 2000 which includes the first solo-studio-recordings for Kanzleramt. This 12" gives you a taste for Alexander Kowalski's follow up LP "Echoes". The acutely harmonic tracks on "Dark Soul" are a tribute to the dark side of Alexander Kowalski and may belong to one of the best productions without a doubt in 2000. Alexander released his really successful long-player "Response" in 2003 and his 12inch release "Alexander Kowalski With Funk D'Void And Joris Voorn" on Kanzleramt at last.

DJ Slip's amazing Discography counts more than 30 releases on well-known lables like Missile, Music Man, Kanzleramt and his own Creation Rebel imprint. His productions are always this little bit different and sets them apart from the rest. Again DJ Slip surprises even those who know. Born and raised in Midwest America he started his music productions with Woody Mc Bride and DBN from Milwaukee. Slip's Homebase is nowadays Brooklyn NY where his Creation Rebel label and the studio are placed too. His brand new album "The Machines Will Know Who You Are" is his first real album and another groundbreaking step that shows his dissimilar sound creations based on electro, techno and instrumental hip hop tunes. The LP contains 12 stories told by the tracks and the guide Slip leads us through the world of strange percussion grooves, post-acid-times, electro bass soundsystems, bangin' techno club memories, chillin' nightflights, Brooklyn and the rough street-life sounds from New York.

Amsterdam might be susceptible to grey skies and rain as any other, but cup your ear to the music flowing out of the Dutch capital, and another story emerges. The Mauskovic Dance Band are a prime example of an act who have been dialing up the sunshine over the river Amstel in recent years.On Shadance Hall, their first release of 2020, they concoct a tantalising brew of no-wave, psych rock, cumbia, power dub and numerous other colourful shades of global grooves.

No stranger to Dekmantel as one of half of electro-grouping Bruxas, Nicola Mauskovic leads his percussive troupe through a heavy, trippy, disco fiesta with this, their first debut on Dekmantel Records.
The Mauskovic Dance Band’s epic sonic journey on Shadance Hall began deep in the Welsh valleys. Partnering dusty drum machines alongside phat layers of congas, assorted bric-a-brac of percussive tools, and distortion-soaked guitars, Mauskovic’s ensemble suspend the tempo and turn up the grooves. on this soundsystem-inspired, post-punk odyssey. The resulting soundsystem-inspired concoctions are a mixture of 130bpmbeats (‘Ventura Phase’), Jah Wobble-influenced bass rhythms (‘Squeeze Dogs’) and Carnival-ready soca-jams (‘Theorie Amerikaan’).

Taken back to Amsterdam’s famed Electric Monkey Studio (a favourite for Ghanian great Ebo Taylor and Dutch youngbloods Jungle By Night alike, Mauskovic teamed up with engineer Kasper Frenkel to mix down the record. Here the two acted as Mad Professors, experimenting with the recordings and making multiple versions of each track by creating tape loops, bouncing the audio back and forth and layering the resulting recordings in waves of reverb and echo. In classic dub style, the band ended up with dub edits, rich in space echo, reverb, crush, and dub-goodness, completing the second half of Shadance Hall like a funky palindrome. It rounds off an expressive EP steeped in musical history, bursting with inventiveness, projected at the listener as a maze of influences to get lost within.