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Gregor Salto feat Chappell- Your friend (original)

Mesdames et Messieurs, le patron du tout puissant Diynamic label a enfin parlé.

Considéré comme l'un des pionniers dans sa catégorie musicale, Solomun nous a offert son bijou, sa perle de l'été.

Un son cérébral, irréel. Déconnectant, phasant, cette partition menée de manière hors pair vous fera frissonner de la première à la dernière note.

Assurément l'un des sons de l'été, si ce n'est LE son de l'été.

Solomun - Friends

Tube & Berger - Imprint Of Pleasure (Monkey Safari Remix)

Ida Engberg - Disco Volante (Sebastien Leger Remix)

Worakls - Bleu

DJEFF & Awen - Home (Mtee-Mbanaire's Club Mix)

A hypnotic Afro-tech house reimagining of a classic love theme. Driving percussion, rolling bass, and spacious drops carry playful, chant-like vocals that celebrate energy, connection, and joy. Minimal words, strong rhythm, and a hook that repeats like a mantra make it perfect for late-night dancefloors

Sarà perché ti amo

Empty Floor

All That Matters

Electric Lines

In 1995, I was playing Goa Trance mixed with Funky-breaks. I owned Diesel leather motocross pants and considered it a waste to NOT have a ring on every finger (thumbs not included). I had slowly veered away from my hard techno roots, and had lost my way. The adrenaline fueled glory of 1992 was a distant memory. Records were not "crazy", they were "phat". The whole era makes me nauseous. Anyway, around this time, my dad was in London, and I asked him to get me some records at Zoom Records (RIP). He came back with Canada’s first copy of Hardfloor's "Acperience" and a white label that just said "FRED 1". That is the point of this story... FRED 1 changed my life. FRED was hard techno updated. FRED had a sound I had never heard, super-compressed and insane: the attitude of gabber but with style. I burned my pants. I smelted my rings. I was reborn and inspired to change my name (to Tiga). FRED also had another name... Cari Lekebusch.

In the mid-90's a small group of Swedes basically changed techno. They'll never get the props that Detroiters (or now Berliners )get... but that's cuz Swedes are dorks. And at the center of this revolution (that also included Adam Beyer, Jesper Dahlback (note to reader, John Dahlback was 8 at the time), Alexi Delano and Joel Mull) was the Godfather... Cari Lekebusch. Most of what I write is bullshit, but this is all true. Cari's records were so ahead of their time that he got kinda screwed. He wrote the book on running an indie techno empire... the graphics, the limited editions, the alter-egos, he did it all. For me it was inspirational..... and now more than a decade later its time to pay tribute to a legend.

Fast forward to 2003. I'm in stockholm working on the follow up to Pleasure From The Bass with Jesper. He gives me a remix he just did for Cari.... it sounds like Sting but EVEN better. I fall in love. The track was "Shaded", and for years I closed sets with it..... it never totally fit in, and on paper it SHOULD have sucked: but it didn't. Not since my own records had male-vocal, sexy, electro-tinged club music sounded so good.

Now 5 years later, to kick off 2008, we at Turbo are re-introducing a lost gem: first, the unreleased original Jesper demo mix, then new mixes by Compuphonic & Kolombo and new Turbo artist Clouded Vision aka Matt Walsh and Stephen Cook. I swear these mixes are something special, not your usual remix-filler crap.

Clouded Vision deliver a fantastic new-era late night acid version. I'm not even gonna insult Matt by calling him up-and-coming, he rocks and looks great and is the future of everything....and C&K continue their global domination with one of the best remixes I've ever heard. Cross my heart. 

Not so many jokes. I'm saving them up for our compilation.

Tiga


Shaded EP

Cari Lekebusch - Shaded (Compuphonic & Kolombo Remix)

Kahana - Michael Forzza  Remix By DJ Nilsson - The Ups And Downs Of My Life

01 - kenny hawkes & louise carver - play the game

Rebirth - The Supermen Lovers

Soda Inc - Big Love (Original Mix)

In for the Kill - La Roux vs Dataworx (Hook N Sling Edit)

I like to create and mix music with meaning in terms of lyrics

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


All That Matters

Kölsch

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