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.