Freedom Through the Machine: Kölsch on His Modular Live Show and ‘KINEMA’ [Q&A]

Novelty is not synonymous with an eighth studio album, but in KINEMA and its supporting live show, Kölsch and the Machine, there’s plenty that's new. The LP landed via IPSO last month, stretching the Danish DJ’s cerebral strain of melodic techno across 10 tracks that collectively reflect his desire to "reach beyond just electronic music." From the dulcet strings on the Symphony of Unity version of "All That Matters" to the acoustic plucks that open its Bon Iver-adjacent closer, "Hands of mine," KINEMA plays like a project born from a pure love not of one genre, but of music and its multitudes.

On it, Kölsch’s sonic fingerprint is intelligible and instinctive, yet never formulaic. This sensibility extends to the album’s writing, which explores emotional nuance from the producer’s own lens.

“I’ve ventured into songwriting, as it was something I always dreamt about. I never felt that what I had to say was good enough, but a close friend encouraged me to ‘stop holding back,’ Kölsch tells Beatportal. “For this album, I decided to do that.”

He’s not holding back on the stage, either. His new modular show, Kölsch and the Machine, is kinema (the Greek word for “movement”) in motion, achieved through an analog framework. Despite Kölsch's tenure, this concept marks the first time that he's brought “key parts” of his “personal studio setup on stage," offering fans a unique opportunity to immerse themselves in his creative process as it unfolds in real-time.

"This is more than a performance – it’s a deep, intimate journey into the way I create music, blending live improvisation with the melodic techno that has shaped my identity," he wrote on Instagram. "At the heart of this project is a simple but powerful idea: I am inside the machine. As I perform, the lines between artist and technology dissolve, allowing emotion and circuitry to move together in a kind of hypnotic dialogue."

With it comes a sense of freedom and creative autonomy that the IPSO label head has long chased – and that's ultimately responsible for his return to the live format. 

In an intimate Q&A with Beatportal, Kölsch peels back the curtain on Kölsch and the Machine and KINEMA amid his ongoing European tour, with upcoming stops in London, Paris, Antwerp, and Madrid. 

Congratulations on the release of KINEMA and the debut of your new live show! You premiered Kölsch and the Machine at Amsterdam Dance Event. What was it like to see it come together for the very first time?

It was an emotional experience filled with relief and intense gratitude. The audience was so welcoming and dedicated to experiencing a new format from me. It's been a while since I've performed a concert in that way, so I was very anxious. Would it all come together and work as planned? Always a very daunting experience. 

You’ve described Kölsch and the Machine as a “radical evolution” of your live show. What inspired you to reimagine it through a modular, analog framework?

I finally felt that technology had reached a point where I could balance my insatiable need for improvisation and freedom. I only wanted to enter the live space when I could balance the same looseness I experience from DJing with performing my music. It was a challenge to combine that, especially since I wanted the lights and visuals to stay in sync. 

How does this modular format complement and transform the way you bring KINEMA to life on stage?

Some of the modular elements replace sounds in my original songs, so I can manipulate the way they integrate into the music. A lot of the synth parts are set completely free; that beckons for improvisations and experiments. Most of that I can control via MIDI controllers in my desk. An example would be that I use the Pioneer DJS-1000 to program the drums on the modular setup. It's the perfect way to combine the setup with my original work. Everything is triggered via the CDJs. Thankfully, we have found a way to make it all work via MIDI and sync. 

With improvisation at the core of your live show, what does your preparation look like, and how much of it do you actually plan? 

All individual songs are planned ahead, primarily to get the MIDI and lighting synced. The order in which I perform those songs is completely up to me. I was dreaming about that freedom in a live show for a long time. It feels like a record box crate, where I can decide what song to play when. I can also extend parts or shorten the music. It's very free. 

As your eighth studio album, KINEMA builds on a deep body of work. What insights from your past projects shaped the creative process for this LP, and, in making it, did you discover anything new about yourself and your approach?

For KINEMA, I dug very deep. I wanted to create an album that incorporated all my current musical inspirations and thoughts. I've ventured into songwriting, as it was something I always dreamt about. I never felt that what I had to say was good enough, but a close friend encouraged me to "stop holding back." For this album, I decided to do that. That means keeping an open mind and incorporating elements from soul, opera, folk, shoegaze, and everything else that has influenced me. I wanted to reach beyond just electronic music. 

What do you hope listeners take from KINEMA?

I hope they feel inspired, and maybe even connect with the emotions I'm trying to evoke. My dream was to create something after the motto, "Low volume, low impact, loud volume, loud impact." Ideally, both a listening album and an album for those loud moments in life. 

Purchase tickets to the remaining stops on the Kölsch and the Machine tour here.