In the beginning was Delirium. That was the original name of the Cologne record shop because it was a branch of the underground-techno franchise in Frankfurt. A group of artists, producers, and DJs who were circling in the techno universe opened it in 1993. That they would later rename the shop Kompakt had many reasons. One being: Cologne is an island. At least as concerns techno.

With all its contacts in the international music scene, a unique style developed in Cologne. What magazines called as early as the 1990s “Sound of Cologne,” is largely due to Wolfgang Voigt, besides Jürgen Paape and Michael Mayer, who are still today the proprietors of Kompakt. Voigt is partial to minimal techno—sounds for a gentleman instead of a Ballerman (the German term associates beachfront boozing and partying to loud music).

When the three named Kompakt in 1998, they also established a label of the same name. Voigt had published his own music earlier on already; it almost seems as if Voigt founded a label for every new artist pseudonym for a while. And at some point it required a proper umbrella: Kompakt.

The firm specializes in new types of sound that are definitely meant to polarize. Minimal techno and ambient music formed the core. Later the makers expanded their program: There are abstract experimental pieces as well as danceable electronic music. T. Raumschmiere gives the best Knarz Techno with the Boltzplatz EP, former Fischmob rapper DJ Koze published remix albums, and Justus Köhncke, a member of the trio’s Whirlpool Productions, may even bring schlager techno to Kompakt.

Internationally known names such as GusGus or The Orb are represented just as those who continue to develop the Sound of Cologne, for instance, Popnoname and The Modernist. And under numerous synonyms from Supermayer to GAS, the label operators continue to publish themselves. With techno you can age with dignity, Voigt apparently says every once in a while.

The label makers have a good view of the newest movements not only in their office. Michael Mayer, together with Tobias Thomas and Superpitcher, organizes the party series Total Confusion since 1998. At first at Studio 672, then since 2006 at Bogen 2, he can observe as DJ what club visitors approve of once a month.

Techno-nerds and DJs also put their moolah into records that Kompakt distributes for other labels, for instance, D Records from Detroit, Manual from Rotterdam, or Mule Electronic from Tokyo. This import is not a one-way street: Kompakt in turn sends musicians to the places of origin for performances and DJ sets since the firm also functions as an artist agency.

Something must hold the whole thing together. Musical framework and at the same time advertisement for Kompakt are the Compilations with whom the label unites the most important publications. Even the design of the series Total shows with one glance: Here comes the Cologne Kompakt sound.

Every cover is divided in ten times ten points, some invisible, some pale, others strong, most close to the background color, a few in contrast. The label works with color in various series as well: The Freiland publications for instance are always a monochrome blue, red, silver, green, yellow, or black. And appear naturally on vinyl. Records are after all the working medium for DJs chasing the perfect mix. An increasing number of laptops, however, are pushing into the DJ booth—the software makes it possible. Thus Kompakt also runs an MP3 shop. The characteristic cover optics get lost in digital of course.

http://www.kompakt.fm

http://www.totalconfusion.de/