Kamil Mokrzanowski (Kapoor) was born in 1987. From an early age, he listened to electronic sounds and learned about the world of music thanks to Pink Floyd’s, Depeche Mode and Genesis records, which he was stealing from his parents.
At the age of 17 he began to listen to trance music and remained faithful to the genre for many years. Currently, during performances in clubs, he shares his definition of electronic music, combining progressive, deep and especially slow mo/oriental sounds. His favourite artists include Bedouin, Be Svendsen, Viken Arman, Satori and many others. The labels he appreciates the most are Underyourskin, Lump, Crosstown Rebels, Deep Bali Records, True Colors Records, Pipe & Pochet and CopyCOW.
Thanks to a well-chosen selection of music, he brings out what is most important – emotions. As he says, DJing in his life takes second place, right after… music production. As Kapoor, he is preparing several EPs, which you will be able to hear soon.
When you’re talking about Kobosil today, you’ll need to talk about life goals: to become an artist, to be an artist. Max Kobosil, born in 1991, grew up in Berlin in post-Wende times of structural change, he discovered Techno when it emerged from sub culture into modernity, from an early stage he was determined to contribute his share to the city and genre as well as coining both.
The initiation for everything that followed was marked by his first visit to Berghain. “At around 17 I was already spinning House and Techno and had heard one or two things about the club. When I turned 18 I went for the first time, after three hours of queuing up I finally got in. I realized very quickly: ‘That’s quite something – this club and the people inside make the difference. I’d like to be an artist here, not just a regular visitor.’ Eventually I met nd_baumecker and some other staff members and despite the age gap we were on the same wavelength immediately.“
The mutual understanding quickly led to his first releases: In 2013 Kobosil’s remix of Barker & Baumecker’s ‘Silo’ was published on Ostgut Ton, the same year saw Kobosil’s 12″ debut on his own RK label as well as his EP on Unterton. With those records Kobosil not only left his mark in Berlin, but also built up a reputation outside of the city and country limits with his gusto for subtly hypnotic synth sounds, noise, ambient and especially the darker, more powerful variant form of Techno. Furthermore he proved himself as a versatile DJ since his Klubnacht debut in August 2013, skillfully combining new Techno records with genre classics, some acid, indie and industrial tracks, while adding pressure to his expressive and emotive sets at the same time.
Since day one Kobosil’s focus has been the balance between playing records and producing. “DJing very much lives in the here and now. With just one night you can define your own future, but a dj set comes to a halt at the end of the night. In contrast, the production side represents your own legacy. History has proven over and over that music needn’t have been a commercial success at the time of its release in order to grow as a cult record over the years. I see it as an artistic challenge to create something that can stand the test of time.“
The Neukölln resident has emphasised this aspiration in the past two years, be it with his club, ambient and live sets, with releases on Marcel Dettmann Records and his very own RK imprint, and via his recent, critically acclaimed remix of Terence Fixmer’s ‘Aktion Mekanik Theme’ on Ostgut Ton – all this exceeding his own visions. His 91 EP (Ostgut Ton, 2015) once again proved his sense for functional techno with depth and drive as does his latest release, the EP 105 (Ostgut Ton, July 2017); while his debut album We Grow, You Decline (out since early 2016) extended his artistic range with all new moods and tones, ease and melodious sounds, without abandoning his familiar darkness. “I want next generations to perceive my album as music – not as techno music.“ It remains to be seen if Kobosil will meet his self-defined goals. His artistic signature and attitude is already distinctive.
Kölsch noting himself, “being half Irish, half German and living in Denmark – it was all one big messy period of my life.” Living in Christiania, an anarchic hippie commune in Copenhagen while spending school summers in Germany with his grandparents, he recalls how “1977” was a product of “reminiscing about what shaped me as a kid” and “the weird ideas and concepts I had on my mind at the time.” While Kölsch attributes the emotion of “1977” to the “solace” and “imaginary world that I would spend days in,” the description of ‘1983’ was as a “travel album,” sound tracking the first year he travelled through Europe aged six. The sentimentality is clear; a vibrant and picturesque journey.
With the 3rd album “1989”, “we have arrived in my early teens”, Kölsch explains, “a difficult time in my life, where I mostly just remember the greyness of it all – grey feelings, grey weather and my own grey face. I would escape that grey world on my skateboard, listen to my Walkman as I explored the city around me. Music became my saviour – the only way to overcome my family’s hard times. I found a soundtrack to my grey life, and suddenly there was color.” It’s why you’ll find several tracks on the album being named “grey” in different languages, and they all share this distinctly “Kölsch-esque” moment of epic melodies breaking through propulsive techno beats like the sun through stormy clouds and it must have touched a nerve since the lead single “Grey” became a big hit with over 2 million views on YouTube, 10 Millions streams on Spotify and went straight to BBC Radio 1 daytime radio.
Kölsch continues his run pushing his own boundaries even further by expanding his own IPSO residency in Cologne at Gewölbe, where he is plays up to 9 Hours, – doing iconic DJ sets at DC 10, fabric and Berghain/Panorama bar, – his infamous live stream on top of the Eiffel Tower in Paris followed by 5 million people online, – having one of the biggest club hits with his remix of London Grammars “Hell to the Liars”, – his worldwide album tour, which saw him touch down in Miami, London, Berlin, Paris, San Francisco, New York, Montreal, Buenos Aires, Sao Paolo, Sydney – and on top of that playing Coachella and the main stage at Tomorrowland in 2018.