The Danish melody maestro talks time travel and pepper crab before helming this huge underground party in Singapore on 3 February
The beat – arguably the most crucial component of dance music. But what is rhythm without direction? Or a pulse without soul? Count on someone like Kölsch to deny the aforementioned notion; to natural melody-makers like him, the heart of dance music lies, instead, in emotion.
Emotion is what keeps ravers glued to the floor and vibing for hours, and Denmark’s Rune Reilly Kölsch is one veteran DJ who emits this with entrancing melodies, forging sophisticated tech-house and lush techno sets. For over 20 years, he’s done this under various aliases – including ENUR, Artificial Funk, and Rune RK which spewed out the brass-blaring hit single, “Calabria” – but it’s with his current Kölsch moniker where he reigns atop the underground dance circuit. From the frisky piano plonks on “Cassiopeia” to the buoyant synth slurs on “Opa”, his addictive hooks are recognised worldwide, and he’s shown no signs of burnout with 2016’s festival staple, “Grey”.
Spinning soon in Zouk’s main room on 3 February, this man of many hats is more than chuffed to return to our shores, as we find out in this casual interview about the significance of emotions in his work, pepper crab, and time travel.
Hi Kolsch! We’re thrilled that you’re coming back to Singapore. What memories do you have of our small, sunny state?
Pepper crab and the zoo. I spent some time on my own in lovely Singapore in 2010; you have some of the most amazing food in the world. For a foodie like me, it’s heaven.
Having played at affiliated events like ZoukOut back in 2013, how do you feel about playing at Zouk, arguably Singapore’s most iconic club?
I’ve been wanting to play at Zouk for many, many years. It’s always been one of those bucket-list clubs. Since I started doing this in 1993, there where whispers around the world about the legendary Zouk.
What are some of your most favourite clubs in the world to play?
There are so many, but one of my all-time favourites is Gewölbe in Cologne – it’s legendary, and it’s the only club in the world with a bespokely-built Martion Horn system. I usually play nine to ten hours there, and the crowd is so educated. Time just flies!
A lot of your songs are rooted in emotion-filled melodies. Are melodies, indeed, the most important thing for you when you’re putting a song together?
Not so much melodies, but emotions. Melodies evoke emotions, and I always try and transmit something very clear through my music. I want it to be a perfect audio illustration of what I feel in that given moment. It could be a memory, it could be a moment – that’s the gift of electronic music. It is able to transmit feelings without words.
Live instruments also feature heavily in your songs. Is there one live instrument you’ve always wanted to work with, but haven’t found the chance to yet?
Most definitely the harp. I would love to make a record with a harp player one day; it’s such a beautiful instrument.
Fun question time! Your album titles are named after years. But if there’s one year you would love to time travel to – past or future – what would it be and why?
I would probably travel to the 1600s. I would love to experience Paris in the days of Louis the 14th. I find the absurd decadence, and abundance of art then so fascinating. That was a time when no expenses were spared, when it came to food, music, art and architecture – all funded by the poor, of course.
Without a doubt, you’re a huge authority in the dance industry. Do you see yourself as a role model?
In all honesty, I don’t see myself that way. I’m just a guy that made some music, and worked at it for 20 years. I caught a break, and I’m making a living now. I’m very fortunate to be in this position and I appreciate it every day. I always try to find time for everyone I come across, as I remember very well what it was like – struggling to make it.
Is ego a pressing problem in the dance industry, you think?
I don’t really come across big egos. I don’t know if that’s a thing you see more in the commercial scene, but in the underground scene, everybody is very passionate about what they do. I think most ego issues arise from people just having a bad day. I’m a very positive person, but after three days with no sleep and 13 flights, I’m not in the best mood either!
Is there a personal dogma that drives your career?
Well, that would be: if it feels right, it is. I’m very direct in the way I produce and play. The beauty of the music I make is that it is very instinctive; it’s not meant to be intellectualised. If you don’t feel it right away, I have failed.
In addition to remixes for the likes of Joris Voorn and Paul Kalkbrenner, you’re also not afraid to put your spin on bigger commercial artistes like Coldplay, which we’re presuming help drive ears and eyeballs to your brand. So why not do that more often?
I get a lot of remix requests from very big artistes. At the moment, we are talking about 20 to 30 every month, but I only remix songs that resonate with me. I have to like the original before I will even consider a remix. I strongly believe that in every aspect of what you do; you have to stay true to your art.
It’s the dawn of a new year – what would you like to achieve in 2017?
I would really like to spend more time in my studio. I’m currently working on my new album, but it is rather complicated being on the road all the time.
And finally, what do you love to do in your downtime? Secret talents not many people know about?
Oh man, it’s not easy to fit in a hobby when I’m already doing what I love. When I’m finally home, I love to cook. I try to invite friends over so we can catch up over a meal. Also, I’m really into vintage watches and photography – nerdy hobbies you can easily have on the road.
Kölsch performs at Zouk on 3 February. Zouk, 3C River Valley Road, The Cannery, Singapore 179022, p. 6738 2988. Entry at $30 (for women) and $35 (for men).