Kölsch at RazzClub (Razzmatazz)

A promising “Testing new stuff”

Kölsch comes back to Barcelona with resonances of a perfect year. 2017 threw all the glitter over his stardom’ shadow, felt as an induced glow over the dark stillness of his appearance artwork. Always sliding from the ones’ perception he shifts to the mainstream and from the others who appreciate the qualities he injected into the underground, the half-Danish, half-Irish DJ, and producer turns to both with a bright naughty look like saying: “I do what I feel.” That is the point, and it is enough for the writer to enjoy his session this Saturday, March 10th, at RazzClub, one of the five rooms at Razzmatazz.

He will be on the decks a week before his latest remix hit the selves. A horizon melody over a strict early drum N bass pattern and groove bassline he turned into a rhythm artifact for the glory of Damon Albarn‘s chant and the fading echoes of classic UK rave sake. His contribution to “Saying,” a track from the acclaimed “My Heart” album by Nic Fanciulli, with whom Kölsch played alongside weekly throughout last summer at Hï Ibiza. His Facebook announces a promising “Testing new stuff.”

He steps like this in 2018′ solid ground after rounding up his autobiographical trilogy served through years in the full-length format with the last “1989” in grey, complementary to the teenagery memories of “1983” and the debut with “1977,” five years ago, giving the anthemic ‘Grey.’ All this stuff, all these uncomplexed string arrangements enriching his techno foundations would not have been possible without the empathy of Kompakt Records, the legendary Cologne-based imprint who did believe in him.

In 2010, Michael Mayer invited Rune Reilly Kölsch to express otherways than the dominant so-called Ketamine House at the time, and bring Ink And Needle (with Johannes Torpe) to Kompakt. It was the right place indeed. The home of Ambient, and Minimal Techno, thanks to Gas (Wolfgang Voigt), a territory for openminded artists daring to do something else as expected. Then Kölsch was Rune RK, the one who smashed with ‘Calabria‘ in July 2003. Immersed since then in different recording projects through the 00’, running labels like Arti Farti or Tatoo Recordings and releasing under the cited moniker but also as Ink & Needle (with his half-brother Johannes Torpe) without forgetting Artifical Funk among others.

On October 18th, 2010, under his definitive artistic name, Kölsch released the 12-inch ‘Loreley,‘ corresponding to #68 of the famous Speicher series, a defining fineness from Kompakt, the German record label founded by Wolfgang Voigt, Michael Mayer, and Jürgen Paape. The Icelander affiliate Gus Gus ask him for a remix of ‘Deep Inside,’ and his personal touch of deep emotional Techno began in demand. The rest is a growing list of high rated names, from Coldplay and Deadmou5 to Eric Prydz and The Chemical Brothers, with a regular criterium of selective ventures for the artistic interest, which went to put his name beside andHim, Paul Kalkbrenner or Damian Lazarus & The Ancient Moons. What he gave to Flume‘s ‘Take A Chance (feat. Little Dragon)‘ and mostly to London Grammar‘s ‘Hell To The Liars’ is musical history. He is one of the talented producers, few of the accomplished craftsman capable of making electronic music the new pop for the 21st Century (in the most broader sense).

The local DJ and producer Baldo will open the night for the Kölsch set. The Vintage synth-loving L.A. producer Seth Haley (a.k.a. Com Truise) will be in the neighbor room, The Loft, with his latest album,”Iteration,” in the case. Everything is starting at 1 am.

Mount Kimbie in Barcelona

Go for it!

mount kimbiedef

The British duo is back to the city on Nov 22 to present the album “Love What Survives,” released the first week of September through Warp. The show will take place at The Loft-Razzmatazz 2 as part of RazzLive, the bill to celebrate the 17th Anniversary of the famous Club and inserted on the World Tour for their third studio album. Dominic Maker and Kai Campos will have the support of Marc Pell (Micachu) on drums, and Andrea Balency on vocals and keys to play their new material out. Barcelona audience is fortunate to have them not in a festival environment but in a concert venue, which is the best way to value their challenging music. It is what they did on Dec 13, 2013, at La [2] Apolo, with the previous album ‘Cold Spring Fault Less Youth’ (Warp, 2012), and it is what they are going to do at the end of November with the latest. This one needs the crowded intimacy of a room imperatively.

You have to go to listen to this. It is an album, but mostly it is a renewed statement: to install a signature melt of synthetic and organic sound for the 21st-century musical spectrum, emotively and deeply rooted in an idiosyncratic London. We all have to go back in time to assume that, but they are working on it since the beginning when they transfigured synthetic and arranged a meeting with the organic for a surprise. Both strands are coiling around each other in Mount Kimbie’s musical DNA, shaping separately but not yet culminated as a whole, waiting for the perfect match. “Love What Survives” is not, but they are on the way.

You can dance to “Love What Survives,” if you are an introspective dancer, but it is far away from a dance record in the primary sense. It is electronic with no doubt but also has electric guitars, piano, drums and gospel touches of an organ on the instrumentation. The album winks to Krautrock styled in a motorik beat. That is valuing an original drum pattern, misunderstood at the time but gaining thousands of followers over the years. They go to the interrupted foundations that taught other constructions to rise. They walk through the streets of London with a recognize sound only a few were able to pave over in wet. They pay homage to some post-punk singularities, going from Joy Division, The Fall and The Cure to the exotic melts of Siouxie & The Banshees or The Creatures, where vintage synthesizers like Korg MS-20 and Korg Delta do the job, and even has post-rock developments in the way Stereolab did.

The title of the opening track, “Four Years And One day” is almost the time lapse between the release of the second album and the third, but looks like a criminal sentence for committing adventurous and confounding expectations. Since 2009, with their early EPs on Hotflush, ‘Maybes’ and ‘Sketch On Glass,’ they took dubstep beyond to debuting LP ‘Crooks & Lovers’ (Hotflush, 2010), and they were the new exploratory thing in electronica, and future garage. Next step was ‘Cold Spring Fault Less Youth,’ a daring test for nuances between club music and more song-oriented work that left them in the state of unconcluded pursue.

The fact is that “Four Years And One Day” is remodeling time and sounds with a purpose in a Kosmiche key. It is a defying bet, picking up ideas and orientations sketched in the past for letting them ring a decision, to fit together and conjugate in the present tense. It drags the experience of all these years since they irrupted in the UK dubstep scene to forge their micro-genre. They are looking for another “post-,” and they go for it. To do so, Mount Kimbie connects emotively with a peculiar musical past, to some episodes belonging to memory. All of them were singular and over-passed by time and circumstances, a glorious resound that many artists recaptured for its relevance along the past decades.

Furthermore, Mount Kimbie invites friends and collaborators that helped them in their musical journey. With two tracks, “We Go Home Together” and “How We Got By,” longtime colleague James Blake brings back to the album what Mount Kimbie offered him, a platform to endorse a vocal talent. Archy Marshall (King Krule) reinforces with “Blue Train Lines” what he pointed in two tracks of ‘Cold Spring Fault Less Youth’ (Warp, 2012). Micachu debuted the same year the British duo did, but Mica Levi’s vocals on “Marylin” has more to say to the proposal than this circumstantial connection, with one of the album’s highlights. Added to the conclusion is talented Londoner, with a French-Mexican background, Andrea Balency who gives confidence to the bet with “You Look Certain (I’m Not Sure).” By the way, “T.A.M.E.D. (Think About Me Every Day)” it is conclusion itself, made out of a song. Instrumentals on the album are saying how they loved being bedroom-producers to become new synthesis creators.

“Post” is a time particle that goes along Mount Kimbie’s career. They are still “Post-everything” in the sense of being unexpected, untaggable. They have always been on the run, avoiding being captured, beyond any classification at least provoking the creation of new ones to fit them. Moreover, “Love What Survives” has intentions to do so.