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.   



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Oliver & Gilles: 10% looks, 90% spotlights.

BOOKINGS BELGIUM : seppe.maesen@livenation.be
BOOKINGS REST / QUESTIONS & ENQUIRIES : asamoto101@gmail.com


Formed in 2012 by friends Oliver Geerts and Gilles Noë, Asa Moto purvey non-standard body music from their Ghent outpost, Studio Martino. Closely affiliated with famed Soulwax imprint, Deewee, the Belgian duo’s recorded offerings carefully juxtapose expert synth-work with aesthetic imperfection. Charming melodies and throbbing rhythms come courtesy of archaic tone generators and acoustic instrumentation alike, landing Asa Moto in a zone of confident sonic idiosyncrasy. 

Their studio prowess has hardly gone unnoticed and during their breakout year of 2018, Resident Advisor, Redbull and the BBC were quick to take note of the group’s steady ascent. Italo-leaning Kifesh was handpicked off of Paradise, by Resident Advisor, for their coveted Track of the Month feature, while the album as a whole received critical acclaim over at De Morgen, one of Belgium’s finest newspapers. The duo ended their year with an impressive four nominations at the Red Bull Elektropedia Awards, for Best Producer, Album, Remix and Artwork. 

Via their ever-changing live performances, Geerts and Noë have become regular fixtures on the European touring circuit, touching down for club nights and festival appearances across the continent.  As astute selectors, Asa Moto operate a bi-monthly radio show in Brussels, digging into their sprawling collection, ranging from obscure jazz records to contemporary electronic cuts.

Heading into 2019 with a handful of new recorded works, Asa Moto look re-adapt their unmistakable strain of body music into a full band live show, the Belgian duo’s most ambitious project yet.

https://www.christian-loeffler.com/
Booking Requests: ralf@vdhaardt.com
Management: paul@ki-records.com

New project 'Driftwood Choir' with Portair. Get more info here: https://driftwoodchoir.ffm.to/bio

Californian singer-songwriter Ed Prosek is an artist of striking talent. His intimate vocals and songs of honesty, introspection, and worldly observation set him apart from other songwriters, combining a musical beauty and individual sense of arrangement with powerful and emotive lyricism to create music that is truly undeniable in every sense of the word. 

The son of an opera composer, Ed Prosek’s songwriting is deeply influenced by the classical world, but not inextricably tied to it. Since the release of his debut EP, ‘California’, Ed has spent six years developing, changing, and demonstrating his ability to express his unique vision not only as a conventional songwriter but also as a masterful arranger. Mentored by the legendary producer Rupert Hine, Ed Prosek has firmly defined himself as an important and relevant voice in the modern independent music scene, having released 2 top 3 singles on Hype Machine, tours in the US, UK, and throughout Europe, and amassing 400,000 monthly listeners and over 12 million streams on Spotify alone.

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


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