MOONBOOTICA

"I can sell out Madison Square Garden masturbating." 
—Mike Tyson


MOONBOOTICA saves lives. MOONBOOTICA guarantees the fun of excess. A great gift to mankind. Without fun, this world would recede into clouds of grey. And who wants that? With MOONBOOTICA, everybody has the freedom to say no to grey. On one condition: fun has to be discovered and used to full effect, with every sinew stretched. Once you’ve got that far, things begin to relativize, delusions of grandeur seem as easy as ABC, thanks to MOONBOOTICA. The powers that be strive for greatness, growth, expansion? MOONBOOTICA rise up to the challenge twice over! Composure through relativization, at the end of the day, MOONBOOTICA always have more in the tank. This calming influence comes courtesy of the “bigger than life” mindset, the classic Funkadelic lesson succinctly stated: “Free your ass and your mind will follow.”

As a DJ and production team, MOONBOOTICA has represented maximum torsion since 1999. But endurance is merely one of the Hanseatic duo’s most distinguished qualities. Together they represent a bulwark against inconstancy and are nevertheless always ready to smash borders. Including their own. There are two of them, after all. A two-headed unity IS MOONBOOTICA, and that’s what it’s all about, IS: double-loaded, twice as focussed, twice as big. The double greatest. Even when Kowe Six or Tobi Tobsen should tread the boards alone,the format remains the same. Each of them is double MOONBOOTICA. And vice versa.

MOONBOOTICA’s unique lack of respect in the interests of wildstyle is both a virtue and a call to arms. If refinement of taste should run the risk of imploding, there’s no better tonic than a dose of MOONBOOTICA. The antithesis to light and minimal dictates. It couldn’t be any easier or more effective. A track, an album, a set – well-being is just a question of the right dose. In case of doubt: more is more. Whilst somehow, the love of a grand pose notwithstanding, remaining the same, in appearance and reality. Without resorting to trickery, ironic dissociation or in-jokes, MOONBOOTICA offer themselves up to the audience. As vulnerable as they are sure of victory, the duo has everything a good, open drama needs. Only that everything does not end up in pools of blood.   

When others reach for anabolics and pimp their track to the limiter with everything they can get their hands on, Kowe Six and Tobi Tobsen simply rely on where they came from. Style was laid in their cradle like a golden curb chain. Their musical trajectory, five albums and hundreds of shows prove as much. MOONBOOTICA is, by nature, greater than everything else. Greater than you or I. Greater than Tobi and Kowe even. At which point we finally come to the introductory quote from Mike Tyson -  but we don’t want to explain the fun of excess again. Take a look in the newspaper if you want to know how important it is. Or spend an evening with MOONBOOTICA.   



Official Moonbootica @ Soundcloud
For every request please contact:
info@moonbootique.com
Presscontact: bruno@freelastica.com



Nogge on Spotify
https://open.spotify.com/artist/0IIRp1tpfQg0F7IG1O0vQG?si=os1nkDp4RjOrzkbC95j2fg

There's only one obvious thing in the sound of Neelix: Relentless forward boost. Exactly how this boost is generated is not obvious at all – which makes it catchy in the most subliminal way possible. The German artist playfully incorporates elements of Progressive Trance, Progressive House and Electro. However, the actual magic of Neelix happens somewhere inbetween those genres. For 10 years already this unique formula made him a crowd-pleaser at a great variety of dance events on all 5 continents, including monumental festivals like Electric Daisy Carnival, Tomorrowland or Boom.

It's 2005 when Neelix stirs a revolution. His album 'No Way To Leave' fulfills all the expectations of the dance floor – but it does so in the most unexpected way. Within no time, party goers refer to his highly dynamic hybrid style simply as 'Neelix sound'. It's the beginning of a stellar career that keeps building and building – just like a typical Neelix track itself. During the last decade, the music of Neelix has inspired a whole generation of producers, it can be found in the collections of countless DJ, in film productions, and in the catalogues of prestigious labels like for instance SpinTwist Records or Paul Oakenfold’s legendary Perfecto imprint.

Our new EP is out now: https://www.beatport.com/release/okeey-yaaah-ep/1850655

For Rune Reilly Kölsch, Kompakt has become a great label to call home. 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’.

A 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’. As Rune freely admits, “being half Irish, half German and living in Denmark – it was all one big messy period of my life.” 

Born 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. 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. 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.

For 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.

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. 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. 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.

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. “2010 was the year of the ketamine house wave, where the music was 118 bpm and everything was extremely boring”, reflects Rune. “I wanted some melodic techno, some energy back in this scene. People needed the energy to express themselves and go crazy for a bit.”

This notion faced opposition, even from within Rune’s close circles. But it was Kompakt founder Michael Mayer who had the insight to see what Kölsch was trying to achieve. 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. 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. It would be a big mash of all kinds of stuff, but at least something was happening. That’s what I was missing and that’s what I’m trying to change with the Kölsch project.”

The result is ‘1977’, a personal collection of dancefloor destroyers that are continuing to send clubs and festivals across the globe into melodic supernova. 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”. Watch it. It puts the hairs up on the back of your neck. “The response was overwhelming,” said Rune in a recent interview with Mixmag (who named Kölsch as one of their ‘Stars Of 2013’), as “when you think about it, it was just a bunch of childhood memories with a kickdrum underneath.” 

Elsewhere he’s ripped up the airways with an acclaimed Essential Mix for Pete Tong on BBC Radio 1, delivered his incendiary soundscape to Singapore’s world-renowned ZoukOut Festival, boomed his live show through the heaving basement of London’s XOYO and played the hallowed Space Terrace – in his words “a boyhood dream since I started going to Ibiza in 1999. That was what I wanted from life!” So opening Amnesia in 2014 with Joris Voorn will be a bonus then...

While these are reasons enough to keep the beaming smile beneath Kölsch’s trademark black fedora, his humility remains just as striking. While tracks like ‘Goldfisch’ have taken pivotal positions in the set lists of world class DJs from across the dance music spectrum – traversing the underground with Seth Troxler, while simultaneously providing credible new euphoric highs for the likes of Axwell – Rune remains joyously down to earth. All despite producing, with ‘1977’, an album that has crossed as many cultural and musical boundaries as his own childhood past.

From the face-twisting melodic drive of ‘Opa’ and ‘Bappedekkel’, to the chord-surfing piano groove of ‘Der Alte’ and the euphoric crescendos of ‘Lorely’, ‘Oma’ and ‘All That Matters’ (all hits in different countries), the fact remains that whether in your living room, on the dancefloors of the world’s greatest parties, or simply in your headphones on your way home, Kölsch’s ‘1977’ has re-defined techno and become an achievement that speaks for itself. 

Words: Phil Dudman – Clubs & Live Music Editor, Mixmag


"Space and Time" LP - OUT NOW!
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BOOK NOW [DJ, HYBRID or LIVE]
info@leavetheplanet.net

Promo & Remix requests to:
DM here on SC or IG: @iambeatamines / augneraudio(at)gmail.com

Mixing & Mastering service by Beatamines:
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__________

BEATAMINES
Biography

10 years of dancing he decided he to start cutting music for his dance crew. And that is how it all began…from Daft Punk to Kraftwerk, Pascal explored all kinds of electronic music styles, in which he has the possibility to express himself with tracks like „How Never“ or „Swaggin“.

During the first two years, in which he established Beatamines, he created a large amount of tracks. By 2009, his first EP’s were published. In 2010, he performed his first national gigs. A first milestone was reached in the year 2011, when the first Album “in Motion” was published on Damm Records (2 * 12” Vinyl & Digital). The Album was repressed 3 times and reached #2 best album in Raveline Jahrespoll. Now even the biggest Labels had heard of Beatamines and his amazing talent : Keno Records, Stil Vor Talent, Katermukke, Moonbootique, and Lauter Unfug,… In 2013 Pascal had the honour of reinterpreting “The Planets” together with the Dortmund Philharmonics and Gustav Holst. He also wowed the crowds at the Fusion Festival, playing it twice in 2013 and 2016. Pascal next Big Strike was his 2nd Longplayer “Echoes” it was released on Einmusik’s own imprint Einmusika Recordings.

In 2016 Pascal started as A&R for the label Lauter Unfug which brought him directly to Luxembourg’s club, Studio 21, where he has now his own Residency with the `rememberthevibe` parties. In the past few months Pascal has been playing regularly at clubs such as Watergate, Kater Blau and Ritter Butzke Berlin. In 2018 he is celebrating a decade of his Project Beatamines.

Beatamines doesn’t just like to play with the same old CDJ’s when playing live, but also incorporates hybrid sets, with drum machines and synthesizers on stage. Pascal packs the groove of summer love into his music, underlined with fat baselines, pregnant claps and chunky melodies. If you get the chance to catch him live you really are in for a spectacle.

When Pascal is not gigging, he is hard at work mixing and mastering for Artists all around the globe, and on occasion; cutting hair for fellow DJ’s and friends!

11.11.2025 „Space and Time“ – The New Studio Album by Beatamines With his fifth studio album, Space and Time, Beatamines takes a bold step further on his journey into the vastness of electronic music. This adventure invites the listener into a soundscape where space and time know no boundaries, and where the true journey is the connection to oneself. The album merges melodic house and techno sounds brought to life by warm basslines, driving synths, and atmospheric pianos. Here, acoustic elements blend seamlessly with Beatamines' own vocals, creating a unique, cinematic experience.
In collaboration with his partner, many of the song ideas were born in intimate studio sessions – a creative fusion of music, love, and personal expression. The themes of "space" and "time" run like a red thread throughout the work, inspired by the notion of merging in different timeframes and places, teleporting, and venturing deep into the soul.
Space and Time is not just an album, but an invitation to explore – a call to meet oneself in a new dimension and to be taken on a spiritual journey through sound. The visual aesthetics of the album are defined by holographic elements, where warm, glowing tones of pink, turquoise, and gold come together to evoke the mystique of space and time. Coupled with a fresh, 90-minute live set, Beatamines sets a new standard for live experiences, showing how he continues to evolve as both an artist and producer.

ALL REQUESTS to:
Annie Zaremba
annie@supdub.eu

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