Kölsch announces fall 2018 U.S. tour

This post was originally published on this site

Kölsch announces fall 2018 U.S. tourKolsch1

Lauded Danish artist and internationally renowned DJ Kölsch has announced a limited new four-date U.S. tour kicking off in late November.

In conjunction with the tour, Kölsch has released a new Kompakt EP, Speicher 106, which builds on the artist’s ethereal style that’s delighted clubs, festivals, and even a crowd on the Eiffel Tour, over the years. It’s a limited run as Kölsch will just be hitting New York, Chicago, Los Angeles, and San Francisco. Tickets and more information for those lucky enough can all be found here.

Last year, the highly revered producer delivered the final installment in his autobiographical album trilogy for Kompact Records, 1989, hosted his ISPO residency in Cologne, played a highly anticipated set at Coachella, and more.

Kölsch announces fall 2018 U.S. tour45630289 1986828758072434 1799037503940853760 N

Kölsch revives his IPSO label with an invigorating new Tiga collaboration, ‘HAL’

This post was originally published on this site

Kölsch revives his IPSO label with an invigorating new Tiga collaboration, 'HAL'

Quite some time ago, the Danish dance auteur Kölsch unveiled his own IPSO label under the storied Kompakt Records. The label’s inception began with Michael Mayer’s double-sided “Dogma” release in 2016, although unfortunately, it saw no further avail — until now. Kölsch has revived the collaborative project, of which his residency in Cologne took the same name, with a brand new collaboration with the Turbo boss Tiga.

Kölsch and Tiga let their dance floor intellect shine on “Hal,” most notably with Kölsch’s swelling vocal samples. Understandably, comparisons to the supercomputer of the same name from the seminal 2001: A Space Odyssey cannot help but be made.

Beyond the headliners: DA presents the top 10 must-see acts of Coachella 2018

This post was originally published on this site

America’s cornerstone music festival is fast approaching its Empire Polo Club descent. As Coachella Music Valley Music & Arts Festival enters its 19th annual celebration, the festival reflects on music’s past, relishes in its present, and amplifies its future. It’s an exuberant apex promising the land of milk and honey for its frenzied fashion frolickers and music aficionados alike.

Those that secured passes this year conquered its fastest selling edition on record despite having endured a price hike. This year sees the Goldenvoice brainchild packing punches and taking names as per usual. Rock ‘n roll’s presence has dwindled, giving rise to rap, pop, and R&B. Beyoncé, The Weeknd, and Eminem are headlining. In the electronica arena, rising acts like Louis the Child, Alan Walker, AC Slater, Petit Biscuit, Whethan, Cash Cash, and San Holo are carrying the torch of a new era of radio-friendly, pop-centric dance music, which Coachella’s clearly noticing based on their booking choices. 

We here at Dancing Astronaut have taken to compile a complete list of acts we deem unmissable ahead of the gathering’s first weekend. By now the set times have dropped and there are inevitable conflicts, but these acts are among the most exciting debuts, performances, and compasses for where dance music has been and will shift in the years to come.

10) Ekali

Photo Credit: Brandon Artis

If a cosign from Skrillex doesn’t entice you, perhaps it’ll behoove you to know that the OWSLA signee Ekali sold out his Babylon tour through December of last year. Maybe you’d like to know that the trap maven moves through genres with ease, having collaborated already with TroyBoi, Denzel Curry, and KRANE. Last year, he released a huge collaboration with Zhu and dropped a wide range of mixes, including his three-hour-long Awakening mixes, a Diplo & Friends mix, and a Triple J mix. Ekali became a household name in the dance community in 2017, and accordingly, DA named him one of the producers of the year. This year, he’s moved from his 2016 DoLab performance slot to an afternoon slot in the Sahara tent and if that isn’t an impressive testament to his own, and a rising class of new dance acts’ versatility, growth, and impact in the modern dance realm we truly don’t know what is.

9) Petit Biscuit

Photo Courtesy of Sacks & Co.

Nineteen-year-old Mehdi Benjelloun, known musically as Petit Biscuit, has already proven his music production talents are well beyond his years. Classically trained in the cello by the age of five, Benjelloun’s monumental remix of ODESZA‘s “Memories That You Call,” drew comparisons to the duo with a refreshing injection of poise. Not to mention, Petit Biscuit wrote, produced, and mixed his debut album Presence over the course of the last year, somehow finding a balance between high school exams and sold-out tours across the world. Petit Biscuit’s Coachella debut is a testament to a new class of classically trained electronic musicians. May there be plenty more to come.

8) Kölsch

Photo Credit: Adrien Combes

Just last year, Kölsch ran through a slew of high profile festivals, had a stellar BBC Radio 1, an Ibiza residency at one of the island’s most renowned new destinations, played the iconic DC 10, Berghain‘s Panorama bar, and performed on the Eiffel Tower for five million people around the world. With both ease and great comfort, Kölsch’s sets implement an articulate understanding of his surroundings, and though Coachella 2018 marks his debut at the festival, his ability to read the room will surely see that he delivers here and for the rest of the world in the months to follow.

7) Barclay Crenshaw

Photo Courtesy of Artist

Dirtybird head honcho Claude VonStroke, also known by his hip-hop alter ego and real name, Barclay Crenshaw, is elevating one of dance music’s mightiest messages. As the founder of the Dirtybird Campout, Crenshaw’s proven the Dirtybird flock is much more than a tantalizing tech house home base, but an embodiment of the true meaning of dance music. He’s bringing the tribe back to the dance floor and proving that love and passion, for music, but more importantly for one another, will see it all through.

6) Chromeo

Photo Credit: Tim-Saccenti

One could argue that a Chromeo set in 2018 is outdated. But, that would be to ignore the duo’s immense cultural permeability, not to mention their timelessness, and an ultimate ushering in of contemporary disco music. Chromeo’s releasing a new album in June. For now, they’ve released a new bop with D.R.A.M and renowned Prince and D’angelo collaborator Jesse Johnson for what appears to allude to their grooviest album yet. Their Coachella set will undoubtedly feature a plethora of classics and new material alike, and you’d have to be crazy to miss that.

5) Detroit Love (Carl Craig, Kyle Hall, Moodymann)

Photo Courtesy of Artist

Keeping current and experimental with underground techno bookings proves to be no easy task. This year, Coachella’s dance bookings cater to the techno heads — see Maceo Plex, Chris Liebing, Joseph Capriati, and more — while simultaneously paying respect to the birthplace of the genre with the booking of Detroit Love. Detroit Love is a trio comprised of dancefloor experimentalist and top Detroit techno producer Carl Craig, Kyle Hall, and Moodymann. Ultimately, it’s small wonder Goldenvoice looked to this crew. If any group were to lay siege on the compelling concoction that is Motown, jazz, and techno, there would be no better choice than these homies from the “D.”

4) The Black Madonna

Photo Credit: Aldo Paredes

In the era of #MeToo, where women are speaking out against their oppressors, The Black Madonna uses her music as a means to amplify the voices of the fringe dance community. Her sets raise up the central voices of club history — ones that have been forced to the periphery or silenced entirely — through a provocative exudence of acid house, disco, and outright emotion.  Her music seeps groove and love that’s made to replenish the soul.

3) Peggy Gou

Photo Credit: Dan Medhurst

Peggy Gou is going to be here for a long time. Having graduated from the underground circuit with the highest honors of club-polished sounds in 2018, Gou brings forth sets that are a dynamic testament to her compelling curation and outpouring love for the craft. She wanted to the be the first female Korean DJ to play Berghain, which she was, and along the way she also became the first female Korean DJ to play BBC Radio 1‘s Essential Mix. Now, her Coachella debut solidifies that her electrifying electro and disco will only perpetuate her meteoric rise to stardom.

2) Alison Wonderland

Photo Courtesy of Artist

Alison Wonderland is speaking her truth. She’s just released her exquisite sophomore album, AWAKE, which is a compelling collection of EDM and hip-hop crossovers. From rappers to Grammy-award winning songwriters, Alison Wonderland is successfully holding the attention of her listeners, while offering one of the most refreshing perspectives of women in the genre’s history. It’s rife with sarcasm, and yet, poppy in its deliverance. The album sees Wonderland wielding her moniker’s trope as a weapon with ease, and it’ll be no surprise if she’s a household name come the end of the year. Considering how much the EDM world is a man’s microcosm, at least onstage,  the very presence of Alison Wonderland’s perspective tends to come off as a revolutionary, dare we say, awakening.

1) REZZ

Photo Credit: Will Selviz

Dancing Astronaut named REZZ 2017’s producer of the year, “The prodigy who exceeded all expectations,” we called her. And yet, to reduce REZZ to our expectations, in hindsight, feels wrong. She’s an artist. Mercurial and acting on her own unique vision. She’s promoting the consumption of water during her sets, like many, she’s working on the little things, improving her jumps during her sets, and she’s taking on the world. As the Coachella set times were looming we began to wonder if the outside world had caught up, whether it was ready to recognize Isabelle Rezazadeh’s global ascension. Having ripped into the scene three years ago with an unparalleled juxtaposition of industrial techno and pummeling bass,  REZZ carved an unforeseen niche in the mines of ominously-sinister, singular techno, and now, the world has taken notice. REZZ will close out the Sahara tent on Friday and the world will be watching. There are no doubts REZZ will continue her momentum into superstardom after this performance, and continue to exceed our expectations, but it’s probably time we let go of those and let the Space Mom do her thing.

Featured Image Courtesy of Coachella

Kölsch curates captivating Orbit playlist ahead of Coachella debut

This post was originally published on this site

Known for his emotional compositions, the Danish producer Rune Reilly Kölsch is redefining what it means to take total and complete control over one’s body of work and live sets as an electronic music producer. With a poised level of reinvention and ease of reading his audience, Kölsch continues to rewrite the rulebook of modern DJing. Whether he’s performing at Miami Music Week or at a nine-hour residency show in Cologne, fans can expect that his performances are artfully curated and serve as a further testament to his craft and ascension in the global circuit, while simultaneously catering to the audience at hand.

Coming off the heels of a string of high profile festival shows and a stellar BBC Radio 1 show, Kölsch continues to stamp his status as an icon with ease. Last year saw the artist dominate the white isle with an Ibiza residency dubbed “In The Dark,” play the iconic DC 10, dominate Berghain‘s Panorama bar, take on the Eiffel Tower, and even Miami Music Week. Now, Kölsch is looking head on at another of his most exciting debuts to date — Coachella.

Ahead of his Coachella debut, the ever-ascending Rune Reilly Kölsch has curated an incredibly captivating Orbit playlist for Dancing Astronaut, where he weaves pieces that have personally struck a cord, alluding to the mastery, complete with his own notes, that is to come this weekend.

” It will be my first time at Coachella, and I honestly don’t know what to expect,” he told DA of the appearance. “I’ve heard so much over the years, and I can’t wait to dive in and enjoy the whole experience. I’ve been collecting special tracks for this moment for some time. Here are a few of them….”

Tracklist:

Sasha – “True” ft Dems

“Such an incredible song by Sasha. Been in love with it since I heard it the first time. ”

Larry Heard – “The Sun Can’t Compare” Long Version

“Classic Larry Heard. Would fit perfect in the desert. ”

George FitzGerald – “Burns”

Off George’s new amazing album. Redefining electronic music as we speak.

Lone – “Hyper Seconds”

“A new take on Detroit influenced techno. Very inspiring.”

George Tresher – “A Thousand Nights Original Mix”

“One Of Gregor’s finest moments. I still enjoy this very much. ”

Jon Hopkins – “Light Through The Veins Ewan Pearson’s Downtown Lights Remix”

“Original is so amazing, but the remix is incredible too. 14 mins of bliss. ”

Yotam Avni – “Midas Touch”

“Love the Arabian influences in this track. Arabian trance. ”

Kölsch – “Left Eye Left”

“My newest born. An ode to Paris. They say an eye for an eye, but we need no revenge so left eye is left. ”

Kölsch – “Liath”

“Violin techno in the desert. Couldn’t be better.”

Galaxy 2 Galaxy – “Hi-Tech Jazz”

“An all-American Classic techno track. Hugely influential for me. I have to play this.

Featured Image Courtesy of the Artist

Miami Music Week & Beyond: How Kölsch continues his global domination [Interview]

This post was originally published on this site

Kolsch1

Kölsch didn’t prepare anything for his nine-hour residency sets at the Gewölbe Club in Cologne, Germany. “But that’s the beauty of it,” he reveals.

Known for his rousing, deeply emotive tracks, the Danish producer believes in both the freedom of music, and of his surroundings dictating his sounds. The aforementioned can certainly be said for the artist’s unparalleled open-air performance last fall atop the Eiffel Tower. His oeuvre has only continued to rewrite the rulebook of modern production, with each and every performance serving as a further testament to his craft and rinsing in the global circuit.

Kölsch’s music implements an articulate understanding of his surroundings, the solace of the times, whatever and whenever he may be drawing from — one he earned in part by growing up in the hippie community of Christiania. Though he’s revered for his countless remixes, each original work comes complete with clear sentimentality. The journey is always vibrant and picturesque, with the electronic composer offering his listeners a window into his soul or his past with each carefully crafted piece.

His most recent LP, 1989, was the final installment in an autobiographical series which embeds his finely-tuned craftsmanship with a newfound emotive elevation of his artistic output. Its sonic landscape is an intensified deployment of real-life orchestral sounds, marking a true ascension for the artist.

Unexpectedly, Radio 1 DJ Annie Mac has shown her undying support for Kölsch’s work, noting, “that man is sort of King when it comes to pianos and house music. He’s got a way of wrenching your emotions.” Of course, she’s right. From his last full-length’s gut-wrenching tearing through the bleak, loneliness that at times plagues adolescence, it may seem that there’s only one side to Kölsch; though a deeper dive into his discography proves the artist, like many, contains multitudes.

With a string of high profile festival shows and a stellar BBC Radio 1 show under his belt, his iconic status has showed no signs of stopping. He an Ibiza residency dubbed “In The Dark” at Hï Ibiza last season, played the iconic DC 10, Berghain‘s Panorama bar, and made his infamous Eiffel Tower live stream for five million people.

Dancing Astronaut had a chance to catch up with Kölsch amidst his global domination as he’s about to touch down in the states for Miami Music Week and will return in April for major performances at Coachella. During the discussion, he touched on his thoughts on the US dance scene, the extinction of EDM, how he remedies his sets worldwide, and more.

Shots by SOLOVOV.be

Congratulations on your absolutely incredible year! On top of your BBC Radio 1 domination and playing the main stage at Tomorrowland 2018 you’re approaching your first performance at Coachella. What can attendees expect?
I’m really looking forward to experiencing the whole festival.  I’ve never been, but many friends say it is an incredible festival. I can’t wait to play a killer set.  What you can expect is more of my charming self. That plus good techno records and my intensive competitive miming act is sure to be special. On another note, I don’t think the US is ready for my techno miming act, so I’ll just do the techno.

How do you feel about playing Coachella as opposed to Glastonbury in the UK or Tomorrowland?
Coachella is definitely on the bucket list I always wanted to play. I’ve been lucky over the years to play most of the festivals I dreamt of (Sonar, Melt, Dour, Tomorrowland, Timewarp, Awakenings, Glastonbury, and so on) I actually think that Coachella is the last major festival on my dream list I haven’t played yet, so I’m really excited.

More underground electronic artists seem to be playing at Coachella this year. Why do you think that is?
The downfall of EDM beckons for a new sound to rise.  In Europe, EDM is completely dead, and all big festivals have techno acts as headliners next to the headliner bands. Radio has also lost a lot of the power it used to have, and therefore, kids are finding their own new heroes online and through friends. I love the fact that there is finally room for new music at festivals. Be it techno, fresh Indie bands or hip hop it’s about time all festivals start realizing that mass SoMe Followers, doesn’t always result in guaranteed ticket sales. There have been way too many lazy bookings over the years, and I’m very happy to see that change.

You’ve recently had a successful residency at Gewölbe Club in Cologne, Germany. ISPO. Tell us about how that came to be and how it is playing that club?
IPSO stems from Ipso Facto. It ruffly stems from “by the factor off,” and is the name of my label. I’ve got a bunch of releases planned on the label, so I decided to expand the concept into a traveling residency. Its been going at Gewölbe in Cologne for 2 years now, and I usually end up playing very longs sets. Up to 9 hours. It’s such special club, as it has the only bespoke built Martion Horn Speaker system in the world. The sound is out of this world.

How does it compare to playing a venue like Ushuaia in Ibiza, for instance,  in terms of planning, energy, set length?
It’s a completely different beast. Playing in front of 12,000 people for 90 min demands a completely different level of discipline than a smaller club. There is not the same room for experimentation. Playing nine hours on a good sound system with the right crowd is any DJ’s dream gig. It feels like therapy to me.

Do you do anything to prepare for the up to nine-hour sets for IPSO in Cologne?
I don’t prepare anything, that’s the beauty of it. With the sound system at Gewölbe one thing I’ve been practicing other than slower tempo and energy, is starting my sets with tracks with a more open sound. Maybe tracks that haven’t been squashed in mastering, so there is more room, to intensify the energy later in the set. Its very interesting to experiment with building a set that way.

How do you see the current scene of electronic music in the US from your point of view?
After the extinction of EDM, the scene is fantastic. There is an amazing form of optimism in clubs all over the US. Suddenly there is room to move more freely and it seems a lot of the freaks are coming out again. People are exploring a new sound, and I just get so much great music these days from the states. I love that the scene has escaped the pigeonholing of style, sound, and attitude that was defined by EDM festivals. For a while there it felt like I was playing in 1997 at Mayday in Germany. It was depressingly hilarious to witness that the scene was so far behind. Thank god for the progress.

How does playing clubs where you can create a new chapter for the club compare to playing the Eiffel Tower like you did back in the fall? That seems to be a true once in a lifetime experience…Maybe the best open-air venue in the world…?
It was definitely a life-altering moment. I’ve had a long-lasting love affair with Paris. From early Laurent Garnier records, through Ludovic Navarre to the French Disco house era hailed by Daft Punk, it’s been a defining place for dance music. The last 10 years have ushered a different, and tougher time for the French. Terrorist attacks have sadly been all too frequent and I felt that I needed to illustrate how much we all love and support them. Just to play Acid Eiffel by Laurent Garnier, a record that influenced me so much in 1993, on the Eiffel Tower was extremely emotional.  Dance music may not be political, but on an emotional level we can all show support.

Was there ever a point in your career where you’d said, ok, I know I’ve made it if I’m playing here?
Well playing there was never even a thing I could have ever considered possible. I could have never event dreamt of that, as I got into this scene, so it was a very big deal for me. My French grandmother who is 93 watched the whole set on her laptop…that made me extra proud.

What tracks do you have in mind that you will definitely play at Miami Music Week?
I’ve got so many new demos in want to test out…currently working on a new IPSO collab with Joris Voorn that I will definitely play.
Also testing out stuff for my next Speicher 12”, so demo galore.

Which track do you have in mind for the anticipated b2b with Tiga at All Gone Pete Tong Pool Party?
It’s going to have to be our new tracks from our upcoming IPSO collab. It was such a pleasure working together. We had a great time in the studio.

Which track for the Kompakt at Space Party?
Maybe a Kompakt classic. I’ve been hammering Donnerkuppel by Robag Wrühme again lately, so maybe that one.

Do you have a track in mind for Get Lost Miami?
I’ll see how underground I can get away with playing there. I really want to take it far out, so I’ll be digging into my rarer records for that one…

And finally, where can we expect the Kölsch sound to move to in the new year? One of our all-time favorite quotes of yours is, “I was trying to make a Balearic version of Jeff Mills..” and it’s in reference to the making of “Calabria.” Obviously, a lot of time has passed since then and your music is consistently evolving, but considering your latest exclusive release other than the WhoMadeWho remix and now “Left Eye Left,” was 1989 — the significantly more emotive, final installment in the album trilogy — we wonder whether the grey shall clear and we’ll see a new side of Kölsch…
The Grey is well and over… I’m working on a lot of new material. Experimenting a lot right now with new demos, so let’s see what comes out of that…

Kölsch US Tour Dates:

March 22: All Gone Pete Tong Pool Party Surfcomber, Miami, FL
March 24 – Kompakt Club Space, Miami, FL
March 24-25 – Crosstown Rebels present Get Lost Miami, FL
April 15 – Coachella, Indio, CA
April 22 – Coachella, Indio, CA

 

Kölsch shares first original of 2018, ‘Left Eye Left’

This post was originally published on this site

Kolsch1

Danish-born Rune Reilly Kölsch is irrefutably unparalleled in the emotive dance realm. Now, the producer’s just dropped off his long-anticipated ID,  “Left Eye Left” — his first production of 2018.

“‘Left Eye Left’ was originally intended as a part of my 1989 album, ” the producer explains. “But in myriad of demos I had for the album it got lost in the finishing process. I rediscovered the demo just before my Eiffel Tower set, and decided it was a fitting ode to the city of love, so it was included in my set. The reactions on the piece where so overwhelming, the only right thing to do was to release it.”

Though the track’s appeared in Kölsch’s sets, it was recently premiered by Pete Tong, and now its proper release cements his stance as an emotive vanguard of contemporary dance.

Creamfields announces unmissable 2018 lineup

This post was originally published on this site

creamfields-featureimg

Creamfields announced their 2018 lineup and it’s looking to be behemoth year for the Cheshire-based extravaganza. Rich in both depth and considerable breadth, the festival will bring together 300 artists across 30 stages from August 23–26.

Techno don Carl Cox will be making his return to the festival for the first time in over a decade, where numerous other artists will be making an appearance, showcasing the festival’s keen ability to tap into the full spectrum of dance music. From artists like Skream, Kölsch, and The Black Madonna, to The Chainsmokers, Tiësto, and Above & Beyond, Creamfields 21 promises to be an unmissable installment for all dance aficionados.

creamfields18-lineup

More information and tickets are available here.

Kölsch exudes sheer cerebral bliss on WhoMadeWho ‘Dynasty’ rework

This post was originally published on this site

7a83ba6865193bd8e88cfa167e86848e71dade06

Copenhagen’s enticing, experimental pop trio, WhoMadeWho, is fresh off the release of their latest studio album, Through the Walls.

As much as their new LP plunges into experimental pop, it’s also an equally beguiling take on acid house. It’s brimming with stylistic changes, and as it twists and turns in wondrous lyrical opacity, it becomes clear that Through the Walls is a deeply distinct take on a genre that can often be all too pastiche.

Now, it seems the Kompakt affiliates are kindred spirits with another idiosyncratic labelmate, as the trio found their way into the heart of Kölsch, who’s put his emotive spin on “Dynasty” from their new LP.

Kölsch’s “Dynasty” remix is an over four-minute extension of the number, and a significantly altered rework. Considering that much of Kölsch’s very reputation has been built on an astonishing arsenal of remixes, it’s unsurprising that “Dynasty,” too, proves to be a solid addition to the wheelhouse.

Kölsch announces first US residency at Miami’s Heart Nightclub

This post was originally published on this site

Kolsch

Kölsch announced that he has landed his first full US residency, which will begin March 17 at Heart Nightclub in Miami. This news comes fresh off of the heels of his January announcement that he will be playing the Tomorrowland main stage in the summer of 2018, proving that this year is off to a very hot start for the Danish producer.

Kölsch originally announced his residency on Instagram, and tickets for Heart Nightclub are available here.

Awakenings announces monstrous two-day 2018 lineup

This post was originally published on this site

Awakenings Festival has announced its glorious 2018 lineup, which will descend upon the grounds of Spaarnwoude on June 30 and July 1.

Over 100 artists will perform over the two days with some of techno’s heaviest acts fronting the bill. Artists like Carl Cox, Adam Beyer, Nina Kraviz, Sven Väth, and more, are some of the prime stalwarts on the bill. Awakenings will also see an equal dosage of techno’s ever-rising stalwarts like Job Jobse, Amelie Lens, Charlotte de Witte, and Dax J making their Awakening debuts.

Richie Hawtin will also be in attendance, bringing his special CLOSE concept to The Netherlands for the first time ever. Other notable acts include Marcel Dettmann, Joseph Capriati, Kölsch, Maceo Plex — who will be bringing his Mosaic concept to Awakenings for the first time ever — Ben Klock, Jamie Jones, Ricardo Villalobos, and Seth Troxler.

As expected, Awakenings Festival will be going above and beyond in their groundbreaking production. Attendees can expect top-of-the-line stage design, particularly in the open air areas of the festival.

 

Awakenings '18

 

Photo credit: Janet/madein1987 

Read More:

Adam Beyer partners with Awakenings to present the inaugural Drumcode Festival

Awakenings is expanding to five nights at Gashouder during ADE

Awakenings Festival announces huge 2016 lineup including Adam Beyer, Ben Klock, and more