TOBY TOBIAS - One Night On Mare Street

I stumbled across quintessentials, the label that released this beauty, via Borrowed Identity. Sidenote: You'll be seeing more from him in on MUZIEKBEER rather sooner than later. I went through quintessentials' catalogue and found this ridiculously magnificent track. Pure quality filled with jazz, soul and positive energy.

KHAN FEAT. JULEE CRUISE - Say Goodbye (LoSoul She's Homeless remix)

I spoke to a lot of close friends about MUZIEKBEER lately. And they reminded me of the primary reason I started blogging, which is, to share great music for my friends. Unfortunately, almost none of my friends are this obsessive about electronic music. Which is why I was digging deep into my track collection to look for a track that got my obsessiveness for electronic music started. And that was this perfect slow dancer from LoSoul.

JOHN DALY - One More City

John Daly jazzes the shit out of "One More City" with those piano lines. Daly created a 90s anthemlike vibe with high velocity percussion. A euphoric and driving track that takes you down deep. Excellent release by secretsundaze.

DJ JUS ED - I'm Comin' (Levon Vincent remix)

I love how simple Levon Vincent his tracks sound. For "I'm Comin'" it all revolves around the piano. And what a piano line it is.

DONNA BYRON - BEARLY SESSION #7

Donna Byron, a 21 year old producer and music fanatic from Amsterdam had the pleasure of doing the podcast this month. Donna aka Phoebe Ohayon disappeared off my radar quite a while ago. During that time both our tastes in music evolved and Phoebe popped back on my radar using a different name. A different name with the same skill set that plays techno in stead of more melodic stuff. Donna made a tightly mixed 2h podcast and did a small interview with me. Find out below why she switched names, what her thoughts were behind this mix and why she loves koala bears.


Hi Donna! Listening to your set, you seem to be quite comfortable playing techno. Now I remember being at one of your gigs ages ago and you didn’t play techno back then. What happened between then and now?

A lot has happened over the years. Music wise, I have learned and developed a lot. A few years ago I played music I grew up with; spacy melodic electronic music. So it was understandable that I wanted to play and produce this kind of music. Over the years I found out that producing this kind of music was not my thing. It didn’t feel natural at all. I started listening to different kinds of electronic music, began experimenting with different styles, did research on the history of techno and house, and I was intrigued by all of this. What I find fascinating in the old techno and house records is the art of simplicity, the raw edge, the groove and the use of hardware. Ever since then I took my productions to a different place and my musical mind and hearing were in line. So I swapped my spacy melodic pads for the 303 and 909 and started playing again.

Besides spinning music you also study music. How did that come to pass? Does it help you move forward as a producer/dj?

I currently study a course called “E-Musician” at the conservatory in Haarlem. But I started off with Ableton Live courses a few years back. After those courses I was eager to learn more, so I joined SAE and did another course there. I wasn’t finished learning, after SAE, so I decided to do auditions for studies in electronic music. A friend of mine was studying at the conservatory in Haarlem and he recommended it.

Ever since I started the course at the conservatory, I noticed that my hearing abilities were improving. My ears have developed in many ways. From harmony theory to mixing and sound design, my ears can hear so much more than before. The E-Musician course is quite diverse and its also a bit more focused on pop music, especially with subjects like audio recording, music theory, solfeggio, songwriting and all that stuff. Nevertheless it certainly helped my musical brain to get to the next level as a producer. Besides that it also opened new doors for me. I found out that I love microphones and recording with other musicians. In this process of recording you are a part of making, producing acoustic records and making technical decisions that can “make or break” the sound. I’m really intrigued by the whole audio engineering world. It’s so much fun!

I feel it has been quiet around you for some time. Why did you decide to switch between alter egos and style in music? Did the previous alter ego bore you?

My first year at the conservatory was pretty hard. I didn’t have time for record digging, promoting my DJ career or playing at clubs. It’s still pretty busy but my priorities have changed a bit.

I decided to start playing again with this new style that I feel really comfortable with. So I thought: new style, new name! And besides that, I always found it a bit scary to play under my own name. When you play under a different alias it just makes it a bit less scary!

Can you tell us what your thoughts were behind the set and how you recorded it?

In this set I wanted to mix up the old stuff with the new. The set begins with a track from Dei Sub called Ten Nine Eight and was released in 1996. That track is pretty timeless if you ask me. If somebody told me it was released in 2010 I would believe it. The quality of the creativity in these records is amazing and I just love to mingle these in my sets. Besides, it’s also nice to show that there is more than Afrojack or Deep House. I think it’s healthy to have a broad look; this applies to everything, not only in music.

I think there’s about half an hour of acid mixed into the first hour of the podcast. Are you as crazy for acid as miss Kraviz is or are their other subgenres of techno you adore more?

I have to say I just love the modulation and the filter that make the sound of the 303. Can’t help it! But acid is one of many. I’m also really fond of the Detroit and Chicago stuff. I also can get my Minimal, Chicago House or Dub Techno hype on if I’m a day off. And sometimes I feel like playing some jazz. But not to worry I also have my Britney Spears and Spice Girls days!

What are your plans for the near future?

Perform as much as possible. Continue with producing, and then release my first EP. I already have some records, but I want to make sure my first EP is a banger!

I always round up the interviews with the same question… What’s your favourite bear species?

Uhmmm… When I was younger I had this adorable stuffed animal koala bear, so I think I’m gonna go for the koala bear. He has a bit of a weird nose, but still cute!

LEON VYNEHALL - Be Brave, Clench Fists

Leon Vynehall released a wonderful house album, Music For The Uninvited, back in March and I recently had the chance to listen to it. I couldn't decide which one of the tracks to blog about. Because there's a lot of cool ones on the album. Especially the jacking "It’s Just (House Of Dupree)"  and the banging off beat "Pier Children".

When Vynehall was working on "Be Brave, Clench Fists" he was definitely inspired by "Deep Burnt" from French house legend Pépé Bradock. Both have an hugely addictive wavy synth that stays on loop throughout the duration of the track. Vynehall's version sounds a bit more detailed and refined but that might be because software hardware wasn't as detailed and refined 15 years ago when "Deep Burnt" came out. Either way, both are powerful, deep and driving tracks. 

PSYK - L3

Psyk just released his first full-length techno album on Mote Evolver and said during an interview "This is my point of view on techno". "L3" is the closing track on Time Foundation. It's not often that producers like Psyk do an entire album. People like Dettmann, Klock and Fengler do one. But Manuel Anós signed his first release when he was just 19 years old on MINUS, which is run by Richie Hawtin. And what Hawtin saw then is still very present today. Psyk's, sometime minimalistic, productions are riddled with tight loops that confront techno head-on. 

EFDEMIN - Some Kind Of Up And Down Yes

Efdemin released his third LP titled Decay in March '14 and it's full of serene gems like this one. You might know Efdemin from a few deep house productions, but this album isn't anything like deep house. I wouldn't classify it as straight up techno either. It's repetitive and hypnotic, but also quite soothing. "Some Kind Of Up And Down Yes" is the track I keep getting back to. It makes you feel zen. 

You can find the album track list here.

Ø [PHASE] - Perplexed (RØDHÅD Extended Mix)

Rødhåd proves time and time again that he's a mastermind when it comes to producing techno. He just released a killer EP on his own label, Dystopian, which is as good as you'd expect it to be. It just doesn't seem to matter whether it's a 6AM banger or a subtle and spaced out floater, the in real-life architect from Berlin does it all. Rødhåd runs a respected label, has gigs all over the world and to top things off there's a residential suite reserved for him at Berghain. 

Rødhåd truely outdid himself on this remix for Ø [Phase]. He dives into the abyss for over 10-minutes with beautiful pacing and soundscapes. The first four minutes build on intensity and the track just seems to go deeper and deeper and deeper... I can only imagine what this epic monstrosity does in a sweaty basement at 7AM. Inspiring stuff.

PRINCE OF DENMARK - Cut Untitled Cut

Listening to Prince Of Denmark is rewarding. "Cut Untitled Cut" swings around with its sexiness and there's a subtle arpeggio which fires off chords that I just keep copying with my hands like I'm playing the piano. Producing dub techno with this much funk is something only a true Prince can do. 

If you like "Cut Untitled Cut", check out some of the other tracks on his album Prince Of Denmark - The Body released on Giegling. 

BEARLY SESSION #6 - NACHTBRAKER

From his tiny room in Amsterdam Nachtbraker (translation: night hawk) produces house music in the night and when the sun comes up he either studies, sleeps or produces some more. After years of repeating this process Maurits has developed his own unique style and that is something you can truly respect. Not following a trend and letting your creativity do it's thing is a virtue only acquired when one has confidence in their sound. Nachtbraker seems to be on the verge of a breakthrough. But when do you breakthrough? I don't know. Maybe if you've had gigs in other countries? Check. Releases on big labels? Double check. Ass-slapping reviews about those releases? Triple check. Oh well did he do a podcast for the Muziekbeer yet? QUADRUPLE CHECK. 

I did a small interview with Maurits Verwoerd about this podcast, his view on producing and the hype his latest EP received. His EP, titled Gute Laune, was featured on the MUZIEKBEER here. 

What's up Maurits. Can you tell us what your thoughts were behind this podcast and how you recorded it?

Sure! This time I recorded a podcast with some dubby chuggers and deep minimal tracks. I wanted to show the other side of Nachtbraker… the darker side.

I chose to start off with a track by Floating Points (“Wires”) to slowly get into the set. I really dig that track, amazing composition (as all of Floating Points productions are). Its that kind of track where you can just dream away on but also gets that head noddin’. After the short rhodes (I must say, my favourite instrument) Pol_On comes in. This is where it starts to get deep and rough, I know that because I always get that dirty face when I play that track. It’s like smelling your own farts which smell awful but you kind of dig it at the same time.. that kind of face… 

Okay let’s move on. After that I stall it for a track or two and than the real dubby mofo’s come in. Tracks by Isherwood, Deso, Henry Gilles and friend of mine (Levi Verspeek, one to watch if you’re into this minimal deep vibes) really want to make you move every part of your body. Rauwkost (at 1hour 33min) and Rozzo (at 1hour 39min) will pull you out of the dreamy dubby minimal and you might notice you can’t prevent your feet from tapping the ground.. Finally a track I really, really like as well is by Kjofol (album on Apparel Music) damn that drop at about 1hour 53min and all these textures and percussion sounds. I just had to include this masterpiece in the mix. But just have a listen for yourself ;).

You seem to be on a roll lately. Your third release on Heist Recordings titled Gute Laune EP received a lot of positive coverage on the internet (and in sets). How does that make you feel? Did you expect it? Or was it bloody-fucking-time?

Haha, both. I did some releases on Deep Edition Recordings and Piekup Records about two years ago. I thought I was ready to get my shit out there.. but I changed my mind so I waited until I got the right sound before I wanted to release anything. The EP on Apparel Music (Lonely Wally EP) was the kick-off. Four really deep tracks for their limited catalogue. I’m really honoured to be part of the Apparel Music family now, since I followed them for quite some time. I actually included one of the four, “Aauw”, in the mix. The two tracks on Fullbarr’s compilation (which should have been released in March but they were postphoned for some reason) continued in the same vibe (except for “Shower for an Hour”).

Regarding the Gute Laune release.. I kind of expected that a lot of people would like it. Its a perfect combination of tracks for an EP. On A1 “Gute Laune” gets the mood right on the dance floor, B1 side “Bluebottle” is the intelligent one with a funky electronic vibe and B2’er “Xantippe” is the deep rough motherfucker. I really benefited from Detroit Swindle’s popularity with this release since they are in the spotlight, their label Heist Recordings is too. And that is what I need, more visibility and exposure. Both the hardest things to achieve as a producer nowadays, especially if you don’t produce simple dance floor hands-up-in-the-air tracks.

But anyways, I said I kind of expected it. That is not entirely true. The awesome feedback by legends like Jimpster and Luke Solomon, Shur-I-Kan and Till von Sein, as well as the positive and well written reviews on my EP. I did not expect that to happen. 

How hard was it to get your name out there?

Hard.. and it still is because I’m not there yet. Far from it actually. I got a great release but I think I will only feel I succeeded when I get this thing going steady for at least a year or two. So many, talented but also untalented, producers and Dj’s are doing their things at the moment. It makes it almost impossible to stand out, or at least to get people to have a really close and good listen to your music. But I’m still growing and we’ll see where it goes.

Gute Laune EP sounds mature and very distinct. I don't know a lot of producers that do things this big, this early in their 'career'. Do you feel you've made a lot of steps, producer-wise, prior to this release? 

Haha thanks, thats a great compliment. Yeah I really did make some steps, as I said before. It took me some time to figure out the right sound, but I actually still am. And I feel every good producer is. Music is moving forward, everything is moving forward and so should my productions. I try to see what other music is out there and what other well-known, but even more unknown, producers do and try to capture how they get that feeling inside a track. For me, the most important thing in a track is that it has to grab me. It has to display this kind of feeling you want to get your hands on, and you sure as hell know how.. but you don’t exactly know what it is. That is the magic behind great tracks. Producers like Fred P, Floating Points, Theo Parrish, Pepe Bradock and Henry Gilles are masters in transferring emotion and feeling in a track (and DJ sets). I know this all sounds really vague, so lets just keep it to the old slogan “House is a Feeling”.

Everybody always writes about you how you keep your head down and work hard on your music. Now you and me both know there's dozens of DJs that release nothing and only want to spin the tables. How come you've focused on producing first and deejaying second?

Simply because I like that the most. The magic of creating your own track, the control to implement anything you want in there.. there is nothing more satisfying than that. I kind of sound like an addict now right haha? Well, I guess I am.

But besides that, my second favourite thing is playing someone else’s music. The DJ in me is just as strong. Always looking for new and exciting stuff by other producers, and when I find it, I feel this really strong urge to play out those tracks. I send them to friends, post them on Facebook, play them in podcasts, let my parents hear them (hoping they would finally like the music I play… to no avail), pulling my roommates out of their beds when they’re still asleep or trying to sleep.. It’s a cyclic process which drives the people close to me crazy. Especially my roommates and my girlfriend. Oh but now I’m forgetting my lovely neighbours. I would now like to take the opportunity to thank them for not ringing the doorbell when the music is too loud.

Okay, just between you and me.. The only reason why they don’t ring is because I live on the second floor and the doorbell downstairs is broken, ghehe.

What are your short-term plans for Nachtbraker? 

I want to continue producing tracks and develop my sound. The latter would be long term since there’s no end to that. I’m trying to work on a live set, but its hard since I’m addicted to producing music. So when I finally start to work on my live set I always end up producing a new track.. very frustrating. But I’ll promise I will have that live set ready soon! Second I just bought two Technics. I really want to learn how to mix vinyl. At first I couldn’t afford turntables, let alone records. But I’m finally making some money now with some gigs. I feel obligated to learn how to play vinyl. Not because a good DJ needs to know how to play vinyl and beatmatch. But because there are so many goddamn awesome records which are vinyl only which need to be played out (see, that compulsive behaviour, that urge..).

Any upcoming releases?

Yep! Very proud to say that I have my second vinyl release on Dirt Crew Recordings, which will be out probably in September! Very excited about that. Furthermore I got a very deep dub techno’ish track coming up on a compilation for Apparel music’s anniversary this summer. I’m also talking to an English label (which I can’t mention yet) to do a vinyl release late 2014. So lots of exciting stuff coming up!

Thanks for a two hour musical glimpse inside your head. I really enjoyed it and I hope you did too. I have one last question. What's your favorite bear species?

My masculine side says: GRIZZLY BEAR YEAH!! My feminine side says a cuddly teddybear. 

BEN SIMS - Spectrum (Jonas Kopp remix)

Jonas Kopp is always able to create such an addictive and groovy loop when it comes to techno. Released on Ben Sims' Theory Recordings label and limited to only 150 vinyl copies. Here's another one of Kopp's bombs.

BODDIKA & JOY ORBISON - Mercy (Boddika's VIP)

Joy Orbison's sound is unlike any other DJ. He's probably as nasty and talented as the likes of Levon Vincent. For this unorthodox banger Orbison teamed up with Boddika to make a vile dance floor wrecker and my god holy fuck did they create one. 

Check out Orbison's other production posted on the MUZIEKBEER.

BLUE HOUR - Reference 97

The drums give "Reference 97" a huge amount of power, especially after the break, but it's the enchanting soundscapes that gracefully balance the track. Blue Hour produced a banger and it's a unusually delicate one. 

GEORGE MOREL - Let's Groove

When I saw George Morel - Let's Groove it didn't ring any bells at first, but when I pressed play I realised I've bounced to this. It's a banging garage house classic released back in 1993 on Strictly Rhythm, which did releases for DJ Sneak and even Armand van Helden. Remember Armand van Helden - My My My? After all these years "Let's Groove" still sounds fresh and powerful. Of course Morel has been remixed endlessly and all the remixes barely touch the characteristic groove. For me, it's the original version that's made out of pure anthem material. 

KEREM AKDAG - BEARLY SESSION #5

Kerem Akdag is a 23 year old producer from Istanbul who knows no musical boundaries. It's hard to pin Kerem down within a certain genre because he plays anything as long as it has a groove. Garage, house, hiphop, RnB and the list goes on. He never recorded one of his sets before because he's always had his main focus on producing so we have a real première here. Plus Muziekbeer just went international so that's a double première.

I had a small talk with Kerem about living in Istanbul as a producer, what it's like to release an album at the age of 23 and where his refined taste in music comes from.


Hey Kerem, can you tell me how and where this mix was recorded? And what your thoughts were behind it?

This mix was recorded in my house in Istanbul, on Ableton. I am not really familiar with Ableton so it was a learning process for me. But I have tried to keep it spontaneous like I was in a club or something and had the freedom of not having any crowd haha. So I was brave enough to play a lot of my favourite tracks from different genres. 

How is living in Istanbul for a producer like yourself?

It was really tough before when I first started, because the "producer" title was not being used in the way Western people use it. So therefore there weren't many producers that I know. But with the internet I've realised there was a scene that many producers, like Sarp Yilmaz and Kaan Duzarat, were involved in and somehow I have managed to get into it. 

There are not many clubs that you can play unusual or underground soulful house vibes but there are some so it's a progress that'll hopefully be better in the future. 

You say that there are not a lot of clubs that allow you to play the music you played for us in the BEARLY SESSION. Do you feel your taste in music is holding you back?

Locally yes, but ever since we use social media I don't think it holds me back anymore. Because everything is now global so I'm not tied up in Istanbul. And like I said, there's not really a big club scene here so I don't mind. 

Throughout the set you show that you have a broad taste in music. How did your taste in music develop?

Well I was very lucky to have a family that listens to all kinds of music. My father had a large collection of vinyls which included everything from Stevie Wonder to Led Zeppelin so I have always been exposed to different types of music.

How did your first release on Apparel Music get received and what do you have in store for us in the future?

I got a lot of feedback from established and talented producers so that was enough for me since it was my first release. I learned a lot from it and as a result I met some producers and label owners that have opened up doors for me.

I have a release coming up on vinyl (and digital) on Petra Digital which I am very excited about. There are gonna be two tracks and two remixes from Kaan Duzarat and Moodymanc. And I am producing an LP (album) which will be released on Apparel Music. I'm really pumped about that project too because its gonna be interesting. I don't do much singing much but I will sing this time haha. By the way, the opening track for Nachtbraker's Heist podcast is going to be on my album.

Let me get this straight. You're 23 years old and are about to release an album? What does that feel like?
Man, I feel very blessed and it couldn't have happened at a better time. I just started to think that I won't be able to put out the music I really want to. And now this happens, so it's going to be a very interesting journey.

Final question. What's your favourite kind of bear?
Haha let me try to translate because I don't understand wait... You ask for the brand or the kind of the beer?

I mean the kind of bear species like brown bear, black bear or giant panda.
Draught beer. Is there a bear like that because I have looked it up in the dictionary and this came up haha. Oh wait, let's go with brown bears.

That's a safe choice. Would you like to say anything for the ending of the interview?

I especially want to thank Nachtbraker and you for giving me this opportunity to express myself and for giving me this interview! I'm sorry for my English and I hope you all enjoy the podcast.

XHIN - Else

Spine-chilling soundscapes by the producer from Singapore. Can't imagine what this must sound like on a proper sound system. Big swooshy kick drums with scrappy percussion is the perfect recipe for disaster on the dance floor. Impressive release by Semantica Records.

04LM - M Place (James Ruskin remix)

James Ruskin is the kingpin of techno. He originated one of the biggest labels to date, Blueprint Records, and has been producing music for about two decades. His remix of "Place" is an instant classic. The colossal kick drum bangs away at a steady pace with fantastic soundscapes to keep it company. A haunting and eerie track, but it makes you want to stomp your feet like an elephant.

NACHTBRAKER - Gute Laune EP

Maurits Verwoerd has been producing music for about 5 years. With releases on labels like Fullbarr, Apparel Music and now Heist Recordings it's clear that Nachtbraker is moving upward. His third release, Gute Laune EP, is officially out today (digital+vinyl!) on the beforementioned Heist Recordings which belongs to Detroit Swindle. That brings Nachtbraker's total to three releases in 2014. So far.

By keeping his head down, focusing on producing and developing his own unique sound Nachtbraker is finally becoming a bigger fish in the pond. Several foreign clubs have already laid their eyes on Maurits and there seem to be big things in store for him in the near future. Everything is set on 2014 becoming his year.

Let's get to the EP. The title track "Gute Laune" means cheerfulness in English and is, ofcourse, rather cheerful with a soaring pad and some killer synth harmonies. "Bluebottle" seems to be toned down more, but still Nachtbraker is able to keep it authentic by adding a dynamic bassline, funky percussion and the gater-effect. The latter is a completely unexpected twist that gives the track a lot more depth. 

"Xantippe" is the most remarkable track out of the three.  A Xantippe is translated as 'evil bitch' or 'fierce woman'. I think the feminine side of the track is the atmosphere and it's the rest that brings intensity to it. Nachtbraker opens up with ambient sounds and broken beats before moving towards more danceable grooves. I really like this one, it's got a lot of heart. 

The artwork reminds me of a diamond in the rough and I think that suits Nachtbraker perfectly. Listening to Maurits' previous releases you can hear how his sound has changed over time. It feels like he's steered away from musical safety and into unknown leading-edge territory.  

Gute Laune EP contains three solid and sophisticated productions that aren't peak time bangers, but will definitely get your head bobbing.

FRED P - Come This Far (Fred P reshape)

The word deep has been used to a point of overkill. Luckily, Fred P with his 20 years of producer experience actually brings meaning to the word and shows how soulful deep can be.

DOUBT - Captain Hours

DVS1 launched a record label called Mistress Recordings and Doubt is his third release. The previous two were excellent, especially Mistress 02 with Juxta Position - Mercy on it. 

Doubt created something brilliant and hipshaking. Hipshaking because "Captain Hours" runs 118 bpm. And brilliant because it's a stylish combination of house and techno with samples that sometimes scream for space. The house stuff adds elegance to the track and all the techno samples makes it more bombing. I really like the combination. There aren't a lot of people producing like this. Thumbs up.

KENNETH CHRISTIANSEN at Trouw LET Weekender

Sets often sound good on a first listen, but get boring quite quickly. They just don't pass the test of time and you end up listening to them once or twice. 

Lately, this Sunday afternoon set by Kenneth Christiansen has been getting quite some plays from me and it's save to say that it passed the test of time. Christiansen plays a lot of tasty vinyl with catchy grooves and beautiful soundscapes. There's so many unknown tracks that blow your mind in the simplest way. Especially the track dropped 26 minutes into the set.

HENRIK JONSSON & JOEL ALTER - En Melodi

Stumbled on this beauty produced by Henrik Jonsson & Joel Alter right before making the BEARLY SESSION #4. I immediately wanted to make it a pivotal track for the podcast because I can't stop head bobbing to it. As soon as the piano kicks in I realised that this is the kind of shit I started the Muziekbeer for. 

"En Melodi" is extremely slow in its progress but keeps building on sexiness and positive energy. Because it's almost ten minutes in length you might think the first chapter sounds boring, but it's all part of the deal. It's a stripped back sexy beast with godlike instrumentals and a filthy bassline. This magnificent piece of art is purer then Adam & Eve and the sickest track I've heard so far this year.

BEARLY SESSION #4 - MUZIEKBEER

As a music goon and blogger I am psyched to do a BEARLY SESSION. Blogging is a perfect way to share music you love with other people and that was my goal for the podcast. A few tracks I played have already been featured on my blog, but there's a lot of new (and very old) stuff in there as well. I hope you'll have as much fun listening to it as I had making it.

Ø PHASE - Binary Opposition (process 3)

What a stunning techno beauty this is. The attention to detail that Ø [Phase] has is unparalleled. His debut album, Frames Of Reference, has been in the making for almost twelve years and "Binary Opposition (process 3)" is the opening track. Its rhythmic texture is refined and the BPM is tickled down which gives the track a rather light and peaceful feeling.

ZADIG - TTRXL

Peltier Sylvain is a techno producer from Paris and is the crème de la crème of techno livesets. I haven't heard a lot of deejays live that match Sylvain's level of intensity and power. Here's his latest.

"TTRXL" came out late January '13 and is one of my favorite Zadig track. It's incredibly fast-paced, has a lot of power, swing and attitude. 

AXEL BOMAN - Purple Drank

How's this for a love song? Listening to this 3 year old (!) masterpiece makes me wanna grind a tree like Balou from Jungle Book. Boman energized the track with a calmly thrusting groove and redefined the meaning of the word sexy. Singing "I woke up with your name on my lips" is touching and almost poetic, isn't it? Purple drank, however, is not very poetic. It's slang for cough syrup and that explains why the vocal is so vague.

I can't believe "Purple Drank" was released in August '10 and I never heard it before. Makes me wonder what kind of unknown treasures are still out there waiting for us to press the play button.

BABY POP - U Know What I'm Saying

Straight up gangster house released in '95. 

Everybody on Discogs is begging for a copy or repress because there are hardly any tracks that capture the gangster-house feeling as well as "U Know What I'm Saying" does.

VESSELS - Elliptic (Barker & Baumecker remix)

Sam Barker & Andreas Baumecker with a stunning IDM production. Baumecker is a disciple from Ostgut Ton, who works behind the scene for the mighty Berghain. Barker is less techno-oriented and leans more towards electronica. The two combined released a marvelous album, titled Transsektoral, in September '12 on Ostgut Ton that united techno with experimental.

In reminiscence of their album I stumbled across their version of "Elliptic". I was grabbed by the uplifting atmosphere and the absolute grace with which the track progresses. 

RØDHÅD - Newspeak

This track has so much of what I look for in techno. A ghostly vocal, short breaks that create lots of tension, smashing basslines and power. Lots of power. 

"Newspeak" was the first release on RØdhåd's Dystopian.

MICHAEL MAY - Syndrome Of Past Behaviour

Michael May produces techno without compromise or mercy. He has been doing so for over a couple of years now and there's a release set for him in the near future on Sub1990. Mastering will be done by none other then Brian Sahaji.

I first laid eyes on "Syndrome Of Past Behaviour" when May played it in the final minutes of BEARLY SESSION #1. The bombardment of his colossal offbeat drums carry way more power then your average 4/4 track. If anything, I'd call "Syndrome Of Past Behaviour" a Spartanic lethal weapon. May shows no pity for his listeners with the drop executed after six minutes. It comes clashes down so loud you might have to turn your volume down. 

GARDENS OF GOD - Ys

Lithuanian producer Mindaugas Lapinskis is a newcomer wonderboy. When you listen to "Ys", and the other two tracks on the EP, you notice he's a wonderboy with a sophisticated sound. This might be Gardens Of God first release but he's been producing for quite a while. The sinister soundscapes combined with a touch of disco and emotive synths reminds me of Mario Basanov. I wouldn't be surprised if the two producers were friends seeing as they're both wonderboys from Lithuania. 

AVUS - Staring Into One Eye (Wesley Matsell remix)

Shit on me. This one helluva remix by Wesley Matsell has been sitting no, dying, in my library for ages. I played it today and remembered how Dominik Eulberg destroyed the Boiler Room with it. I blogged about his set in April '13 and wrote "One hour filled with wicked tracks and not so wicked ones. I'll take the not so wicked ones for granted though." I couldn't really appreciate Matsell's remix back then. The synths overdid it for me. He exaggerated them. It was a little too powerful.

Now, I think Matsell made the synthesizers sound like a wizard casting Wingardium Leviosa. He pitched 'em so high, you have to get up to either cover your ears or dance.

BEARLY SESSION #3 - D'LECTRONIQUE

After a two month break we're back with a new podcast. I'm super psyched to have good friend, and DJ, Dominique D'lectronique Top do the third instalment of the BEARLY SESSIONS. I first saw D'lectronique play at a private party in Holland a few years back. She played the closing set and I remember she rocked my socks off. Dominique wasn't just cool and extremely sweet, but that same charisma also transferred through her track selection and that gives a dance floor energy. Lots of it. 

I did a small interview with D'lectronique about her thoughts behind the podcast, her career as a singer and what her favorite bear is.

How and where was this mix recorded? And what were your thoughts behind it?

This mix was recorded in my little studio at home, I have all of my gear set up there. I always record my sets and when I record something at home, I play it the same way as I would do on stage. Two technics, two iPads for midi-controlling and at the base of it all; my computer with Traktor Scratch Pro. I use the record output of my mixer for recording. 

I’d love to expand my setup someday, but the way I have it setup now gives me pretty much all the control I need when I play. On a side note, I recorded the whole set in one take. When I started recording mixtapes, I used to start over and over when I messed it up.
For this mix I really wanted to give you a peak inside my head, these two hours are a pretty decent representation of who D’lectronique is.

Tell us a little bit about the name “D’lectronique”?
I was 18 when I started DJing and I wanted to have a cool stage name, something that would fit me perfectly. So, I started thinking. My name, Dominique, is french. I play electronic music. Musique D’electronique is the french term for electronic music. My DJ name started out as "Dominique 'Lectronique", but I soon decided to skip the 'ominique'. D’lectronique had a better ring to it and has been my alter-ego ever since.

And yes, I love electronics.

I’ve heard some stories about you singing through a microphone while DJing, is this true?
Yes, thats actually true! I don’t sing as much as I used to, but I was the lead singer in a band for years! Sometimes when I’m feeling silly, I grab a microphone and sing when I’m DJing.

What do you have in store for us in the near future?
I’ve been producing my own tracks again, maybe you will see those floating around the interwebs! Other than that, keep a look out on my social feeds for updates on shows and what not.

What’s your favorite bear?
The Cinnamon Bear. Because they are awesome. 

GRAZE - Ripley

Graze consists out of two producers: Adam Marshall and Christian Andersen. They released a small album together in December '13 which was received fairly well and consisted out of bass-focused tracks with a slightly somber touch. From all the eight tracks on the album, "Ripley" is the production that stood out the most for me. 

Marshall and Andersen made the bass sound as filthy as a sewer and worked with a ghastly vocal and some percussion in the background to give the entire track a melodramatic warm feeling. "Ripley" doesn't feel full-on club mode, but a few steps back. After-mode.

DJ TENNIS @ Output Brooklyn, New Years Eve 31.12.13

DJ Tennis does not only own the Life And Death label, which is one of the biggest labels of this moment because of his vision and taste in music, but he's also a boss behind the decks. This three hour set has got some killer up-and-coming Life And Death releases, including Ten Walls - Walking With Elephants and many others.This is three hours of true epicness and must've been the perfect way to start 2014.