Kölsch | Fabric presents Kölsch
This is the fourth full-length from Danish artist Kölsch (Rune Reilly Kølsch) who’s been recording for just about a decade now. And this sounds as fresh, if not fresher, than his debut way back then. Opening on US1873 with a slow tribal beat, I’m excited as this teases the ear with abstract quarter steps and gaseous aeration. And then we are off to the races so to speak. This is an immersive minimal technoscape.
Despite the commercial appeal (which, of course, is a good thing in this case), this is atypical for such work of late, this feels expertly produced, but not like an ad for Audi or Lexus. Mind you, the beats could be easily stripped away to become this glassy metamorphosis of ambient electronica, but this rides the high of its funky potential. The tracks warmly slide into one another, making this like one of those all-nighters by the glow of laserlight and ultra HD impact graphics. But the way Kölsch does this is staged, and smooth.
This has a hypnotic groove, with the bells and whistles – which are particularly elevated on SK1550 in an almost folky orchestration that is like a breathy sunset to back it up. It’s a bit moody, something of a passageway to a blossoming darker side on EZY865, one of my favorite tracks here – with a whole slew of synthesized orchestrations. There are dreamy passages, and some stilling moments dusted here and there, but the bounce creeps back in through the crawling AC1609 as if coming from a dark alley. Is an effective sunken set-up for the first few minutes, and once it warms up is likely the most infectious cut on the record, highs + lows intact – that said, this deserves a slew of mixes ala Rex the Dog. Ooo, the beat’s got me.
VY3517 uses this patch or filter, as if its puffing out lil’ jets of air, so effectively by incorporating an additional quick percussive click, that comes off almost like castanets. That and a wavy synth that sounds like a oratory vocal treatment – this reminds me of some of the mixes heard on the Pet Shop Boys’ Bilingual (1996). It’s subtle, but its embedded in there, somewhere. In all this is one of the best contemporary releases from London’s Fabric imprint in the last several years, very much self-contained and driven.