In Lansing, in the heart of Michigan, where the Rust Belt gnaws with nostalgic grit at the very foundations of Detroit, John Beltran sits and makes electronic music. He’s been doing so for three and a half decades. Without causing a stir, without any pretentious posturing. Not even a contrived pose in the flickering neon light of life’s backdrops is suggested by his Instagram handle.
Beltran reinvents himself with reliable regularity, without selling his soul to the latest micro-trend. As early as 1996, with Ten Days of Blue, he was refining the symbiosis of Chicago frequencies and Larry Heard-style depth. In 1997, with The Cry on Peacefrog, he carved an ambient monument for eternity. From R&S to Delsin to Kalahari Oyster Cult, this bloke has enriched every cult catalogue the so-called underground has to offer.
Next up is Sunrise And the Way We Live. The title sounds like a self-help book by a yoga teacher from Mitte, but behind the façade lies exactly what John Beltran does best: subtle melancholy, grounded by analogue warmth. What you won’t find: cheap drops. Instead, there’s a whole host of “happy accidents” on old synthesisers, skilfully arranged by someone who, after what feels like 300 albums, no longer has anything to prove to anyone.
Oh, and by the way: rather than wallowing in bitter nostalgia in his mid-50s, Beltran prefers to relax whilst cycling along the Detroit River promenade, glancing over to Canada and letting Gen Z hail him as a grand master. He is quite simply that rare phenomenon of a quiet giant – always flying under the radar of the masses, yet immortal in the memories of those in the know.
John Beltran: This is probably my favorite album of all time. Sting showed me that as an artist you don't have to be what the public perceives you to be, as he has evolved from his Police days I've evolved from my Ten Days 😉
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John Beltran: I have gained so much from this LP. The title track, »Stronger Than Pride« never gets old for me. It's one of the most sensual pieces of music I've ever heard.
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John Beltran: This record captures everything I love about certain adult contemporary. The jazz. The world music element. The soul. And popular music vibes, as well. If you've never heard this gem, and you love the two LPs mentioned above, then get to it. Chef's Kiss.
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John Beltran: Der Titelsong »Hounds of Love« enthält meine gesamte Jugend in einem einzigen Lied. Er versetzt mich immer noch zurück in jene Herbsttage der Achtziger in meiner Heimatstadt, als die ganze Welt und all meine Träume vor mir lagen.
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John Beltran: What more can I say about this perfect album? »Mercy Street« is still one of my top 10 songs of all time. The musicianship and features on this record are as elite as you can get.
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John Beltran: OK. So, I've actually only just started listening to this one. It came out in the '80s, but I only discovered it recently. »Spirits 23« was shared with me by someone who is new and special to me. Something stirs in me right now as I listen to it.
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John Beltran: »Save a Prayer«. No more needs to be said.
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John Beltran: »Plainsong« and »Closedown« are musical perfection. There's nothing better in this world.
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John Beltran: John Beltran: This was the record that officially marked my move on from the '80s. What more can be said about »Cherry Coloured Funk« that hasn't already been said? Liz is a real force of nature. I'm currently producing a band from Montréal called Young Galaxy, and we're definitely drawing inspiration from Cocteau's sound. We're bringing back shoegaze dream pop! Stay tuned for that one!
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John Beltran: I loved this record! »Come to Me« is my favourite track. The tabla and Middle Eastern strings on »Venus as a Boy« never fail to impress me. It's timeless.
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