The Dream Recordings factory: Traum Schallplatten reaches 100 releases

The Dream Recordings factory: Traum Schallplatten reaches 100 releases

9 June, 2008 | 9.57AM

• Section: Music News Topics: Beatport Blog
• Written by: Lee Smith

Over the last decade, Cologne’s Traum Schallplatten (literally translated as ‘Dream Recordings’) has become a renowned techno powerhouse, thanks to the imprint’s distinctive blend of dancefloor drive and sparkling ethereal melodies.

While early releases concentrated on thoughtful, delicate deepness from artists like Steve Barnes (aka Process and Cosmic Sandwich) and Miss Dinky, the label went on to develop a more muscular style after the arrival of Domink Eulberg, who they plucked from obscurity back in 2003.

At the same time, they’ve always maintained a strong ear for new artists from all corners of the globe, offering a springboard for countless now-established producers.

Their celebratory CD compilation ‘100’ is a stunning round-up of all that makes Traum special, with tracks from both newcomers and old hands offering plenty of sleekly constructed techno goodness.

We caught up with label co-owner Jacqueline Klein to get a rundown on the story of Traum so far.

So, Traum is 100 releases old. Congratulations!  What were your original ideas for Traum, and why did you start it?

The label was initially set up to express our vision of music.

When we kicked off Traum in 1998 we already had participated in listening to music for many years.

Riley [Reinhold, aka label co-owner Triple R] had been part of the new wave and punk movement in Cologne and had done about 100 parties and raves in Cologne from 1989 on to 1997, inviting DJ Pierre from Chicago, Patrick Pulsinger, Herbert, Electric Indigo, Kotai and Mo, Ian Pooley and DJ Tonka, Alec Empire and a lot of others.

And I had been a DJ since 1994, organising chill out parties and playing at festivals like the Sonar.

We really never were slaves of the techno movement, but included our personal view of music in general.

So when we started the label Traum it was like opening up a window for us, it made it possible for us to communicate to a world audience rather than just relying on the Cologne scene.

1998 was a time when the good old techno days were over and new steps had to be taken.

Our first CD ‘Elektronische Musik aus Buenos Aires’ was a huge success also in England.

It made it to the top 10 of the best CDs in The Wire that year, and lead to remarks from famous English journalists, saying that the CD was a hoax and was actually made up by Cologne artists.

So we bumped into the established press and it was an encouragement for us that we were doing the right thing.

Sure, our music was based on the Cologne feeling of post-beatnik days, jazz feeling, post Can, post Cabaret Voltaire, the melting for niche music, famous journalists like Diedrich Diedrichson (SPEX magazine)… and the atmosphere of hanging around in bars like the Liquid Sky where we both played.

So early Traum was a search for likeminded musical souls who were not from Cologne!

We say this because it has changed very much these days, with new super artists from Cologne like Dominik Eulberg, Roland M. Dill (a person who plays 12 instruments, writes composition for orchestras, and jams the beats as if it was the last days on earth), or Bukaddor and Fishbeck, who are 100% into studio processed deep music.

In general we enjoy working with German artists now especially due to the advantages of being able to build up a close relationship through the geographical proximity which is really difficult when the artist lives far away.

So we have moved on during the last 10 years, not only musically, but also with the way we work.

We have all we need in one building now - mastering studio, graphic room, booking agency and lots of space to be creative.

We see comfort in the physical presence, at a time when many others lay their focus on being digital only.

Sure, we try to find a balance between both, but the social aspect and what comes of it means very much to us.

Also, we opened up 4 other labels: Trapez (2000), Trapez ltd (2001), My Best Friend (2004) and MBF LTD (2005).

Name me some of your most ‘important’ Traum releases.

OK, I would say ‘Integ’ by Process, ‘Die Rotbauchunken vom Tegernsee’ by Dominik Eulberg, and ‘Space Remixes’ of Minilogue by Radioslave and Bukaddor and Fishbeck.

How would you describe the sound of the label now?

On Traum we look out for music which unites two things, the artistic and the functional, dance aspect, but still features a quality which allows people to read between the lines.

What are your plans for the label’s future?

To stay young at heart and see new developments coming, and to address the right musicians in the future.

We enjoy working with artists who don´t only do the minimal techno thing, but who produce category-free music.

We are especially interested in new British musicians, as we see a lot is happening in the UK at the moment.

How important is the sound of Cologne, your home, to the sound of Traum?

Right now there is no sound of Cologne.

The digital world with its highways has killed off all domestic features.

But we are trying to reinstall it a bit, if we can we could call it a Cologne sound of the future...maybe....it’s a question we cannot answer now.

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