![]() ![]() It puts the hairs up on the back of your neck. Take this video of Kölsch’s set at Belgium’s I Love Techno festival, one of Rune’s 2013 highlights, where “people were doing sit downs, singing along to all the tracks”. The result is ‘1977’, a personal collection of dancefloor destroyers that are continuing to send clubs and festivals across the globe into melodic supernova. That’s what I was missing and that’s what I’m trying to change with the Kölsch project.” It would be a big mash of all kinds of stuff, but at least something was happening. And that’s what techno should do!” Here too he drew on his love of Jeff Mills and Derrick May, recalling how “they used to make mistakes all the time. Rune’s conviction that vibrations and melodics are the key to human response had tipped the balance, underlined by his experience as a hip hop DJ where he “needed something to catch me and drag me in. But it was Kompakt founder Michael Mayer who had the insight to see what Kölsch was trying to achieve. This notion faced opposition, even from within Rune’s close circles. People needed the energy to express themselves and go crazy for a bit.” “I wanted some melodic techno, some energy back in this scene. “2010 was the year of the ketamine house wave, where the music was 118 bpm and everything was extremely boring”, reflects Rune. This appreciation of the complete musical spectrum has gifted Rune with a devotion to groove and melodics and with it the dexterity to input real creative change to the genres he reveres, not least his beloved techno. He then set up Tattoorecs – releasing pioneering underground tracks with no titles, just tattoos for artwork, that garnered critical acclaim and support from minimal and techno trailblazers such as Sven Väth, Richie Hawtin, Magda, Tiefschwarz and Ricardo Villalobos. ![]() In 2003 he released the multi-million selling, saxophone-infused ‘Calabria’, that saw collaboration requests pouring in from artists as diverse as Nicki Minaj, Shakira and Flo Rida. Influenced by hip hop, pop and the incredible legacy of Jeff Mills and Derrick May, Rune started producing in 1995, embarking on a string of success stories. Kölsch, however, did miss out on building friendships and found solace in making up “this imaginary world that I would spend days in,” before the family moved to Germany – a period of memories, relations and characters from which ‘1977’ derives its titles.įor Rune, the tracks he began building from 2010 took in this personal reflection, his being “completely locked in to reminiscing about what shaped me as a kid and into the individual that I am now” – contemplating his unique past to form the brickwork of ‘1977’, one of the most future-facing techno albums of recent years. ![]() His mother was an artist whose family had roots in German politics and his father a singer songwriter who travelled through Asia playing music in the early 70's. As Rune freely admits, “being half Irish, half German and living in Denmark – it was all one big messy period of my life.”īorn to hippie parents in the freetown of Christiania (a commune-like autonomous borough of the Danish capital Copenhagen) his childhood was spent surrounded by creativity. In 2013 the German imprint celebrated 20 years of record releases at the cutting edge of electronic music, championed in June by one of the most genre re-defining albums and personal music projects for an era: Kölsch’s landmark long player, ‘1977’.Ī melodic autobiography on black wax, the Kölsch project has seen 36/37-year-old Rune take stock of a diverse and successful production career and draw upon his own personal beginnings: a nostalgia for childhood, family, friends and the confusion of applying his split-cultural heritage to what it means to think of ‘home’. For Rune Reilly Kölsch, Kompakt has become a great label to call home. ![]()
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