Peter Van Hal [Interview]

The eighth installment of our label manager interview series welcomes Peter Van Hal who runs District Rec and MelodicLab, in addition to running top labels from yesteryear, such as Deep Records, Focus and more. Peter has a long, storied history in electronic music which many nowadays would not be aware of, so we wanted to give our readers some insight into his career, how he goes about running his labels, his thoughts on the current state of the scene and much more. Enjoy.

Hi Peter, thanks for talking to us today. Now that we’ve started the new year, how was 2024 for you?

Hey Mitch, Thanks for asking!

To be honest, it couldn’t be better. Happy in my personal life and music wise we kicked off the year with a release on our new label District that is gaining serious attention. Mike Rish did an edit of an old classic from Speedy J that is currently on top of the Beatport charts.

Now let’s look at tracks, what is a track or tracks which have come out this year that has impressed you the most and why?

Maybe boring but the Syncom Data – Beyond the Stars ( Speedy J remix – Mike Rish edit) is my absolute favorite. Dirty club music that reminds of Peace Division and the music that came out on labels such as Yositoshi back in the day. But there is more. Of course Patch Park’s music. Exactly a year ago I sat down with Patch Park in the studio and I asked him if he was doing anything with music. He hadn’t done music for years under his own moniker and just a couple of months before he picked it up again with his friend Ozgur Can under the name of Left2Dust. When I listened to his new solo stuff I was blown away and asked him to finish a few which we then released on Melodic Lab Records. Didn’t take long before people woke up to his sound and very soon after that he got smitten again. Nowadays Perry is doing most of the new music with his friend Dennis and has become a duo officially. He is loving the fact that it’s not a solitary job anymore and enjoying working and travelling together. Although Ozgur and Perry had something incredibly interesting going as Left2Dust. That started everything again for all three of us.

Let’s just say I am very interested in a sound that has one foot in the progressive but also a foot in techno. I like a certain kind of energy and a little less melodies, more stripped and raw. District is all about that and with Melodic Lab it has a bit stronger connection with progressive.

What is a song/track you’ve never stopped listening to since childhood? And why has it stuck with you this long?

10 CC – I’m not in love. That is just insane production wise and so original in every aspect. But also Fleetwood Mac. Jean-Michel Jarre, Queen. Freddie Mercury was out of this world. Jimi Hendrix, Depeche Mode, Crowded House and of course Elvis. I have a long list, haha. Your favorite track is a reflection of a moment that day.

How has growing up and living in the Netherlands contributed to your passion for electronic music?

Definitely! Holland is one big gateway for music over the decades. For the US and surely for the UK. Holland has always been very openminded and a melting pot of styles and cultures. As a kid in the 70ties and growing up in the eighties we were exposed to it all. I used to sing in bands when I was young. First Rock-a-Billy and Rock n Roll, later I had a Crowded House tribute band but I love everything that is quality. From early 20ties jazz and folk to gypsy jazz , big band, blues, psychedelic 60ties music and 70ties rock, Hardrock, pop, George Michael, I love it all. And of course Holland has had an incredible impact in electronic music. Still has. There is something about Dutch producers and also the energy in the music.

At which club or event did you experience electronic music for the first time, and what memories have stuck with you from that moment?

This is a funny one! I hated electronic music when I was about 26 or so. I had friends that went to parties every now and then and obviously also did XTC. Just kept asking to join me for a night so I finally gave in. I went to Loveland, 1995 in a swimming pool in Zandvoort. I went for the full Monty and was washed in sounds and music that stole my heart. After that night I was hooked. No turning back and I still have very fond memories off the first years when I fully discovered electronic music. Looking back now it was also an exciting time in music.

Many people may not know this but you’ve been working in the industry for around 30 years, tell us a bit about your initial ventures into the industry and how they shaped your career going forward with Extrema, ADE, Deep Records and much more.

It was all coincidence and a big mouth that got me into it. My career is just something that happened, no plan at all. I got on a wave and rode it, all organically. After my first party I pretty soon bought decks to learn how to mix. I also liked photography and I was experimenting a lot at parties with photography. I visited the early Extrema parties and got to know the owners, Marcel and Sander. I soon gave them shit regarding the line up’s. The parties where great but the order of dj’s didn’t work energy wise. I told them and they just said that maybe I should do it if I know it all so well, haha! One led to another and within a short period I became their official booker. And late nineties I started my first label, Deep records with help of the infamous 3 Beat Label Management in Liverpool which was set up by Andy Jarrod, pretty much my mentor in the scene. May he rest in peace, anyone in today’s progressive scene owes a lot to him.  I connected everything back then, the label, Extrema. My own taste, then another label Focus, Extrema Records, DK records. Set up Extrema music with the managing and agency. Found out I could trust my own ears and gut feeling with releasing music. And it felt natural helping others find their way and setting up labels for and with them. I think in the end all evolves around communication and passion. Early 2000 everything just came together. With Extrema we became a major player in Holland, the festival grew and I had total freedom booking artists I liked. The line up’s back then where legendary I see now. People such as James Holden where the first to play on the mainland through us. Every big name I had the pleasure booking and meeting back then. I think I had a nose for talent, originality and nice people and those where the ones I booked. Progressive was just a small part, I had to learn everything about techno, house, drum and bass, etc to make the right line-ups

I released a lot of music that where first releases for producers, or very early in their careers. Bart van Wissen, Q-Lock, Petter, Rene Amesz, Matthew Dekay, 16 Bit Lolitas, Subsky, Eelke Kleijn, Kosmas Epsilon, Guy J, Derek Howell, Madoka, etc. Endless list of young, talented producers that I embraced and created opportunities for. I was never in it for money. Then I started working together with Matthew Dekay, set up DK records and it just grew and grew. I worked for the ADE as a consultant where we thought of the panels and which direction the industry was going. Interesting and exciting times. And of course working with Guy J. We supported him a lot his first years and we really got along well. It was obvious he was a major talent, all fresh ideas and a super nice guy. He hasn’t changed a bit, still a super nice guy which is rare in this business. Makes me happy to see what he has done the last 20 years. All based on vision, hard work and dedication. I think I was the first to get him to play in Holland, the old club NL. Somewhere in 2004 or 2003. He probably knows better. At a Deep party.

I would say to long term electronic music fans you’re probably best known for running Deep Records, which ran from around 1999 to 2016, with a brief return of a few releases from 2019-2023 I believe. When you look back on the early days of running that label, what would you say were a few releases which were instrumental in the success you achieved with that imprint.

I think Deep just opened doors for me. The first 20 releases I think I had 12 debuts. People who released their first ever record. Bart van Wissen, Q-Lock, Rene Amesz, Petter, etc. Mind you, releasing a record back in the day was something special. You needed a lot of tools to do so. And money, a lot of money. Good distribution. Back then you didn’t search on artist in a shop. Or maybe a little but you got to listen to the new labels which represented a certain vision and sound. It was a fricking cool time looking for good music for the label, exciting. They where the ones that brought new names and new sounds. I remember first time walking through the door at Plastic Fantastic in London. Enzo’s shop was the tastemaker in London. Behind the counter where the good labels that pushed new sounds and quality and to see Deep claiming a spot up there was a big deal. Told Enzo recently about that moment.

2 that stand out where Matthew Dekay – If I Could Fly and soon after that Petter – These Days. 2 classics now. I met Matthew at ADE and we had a click. The sound he was onto back then, wow. Everything he made was special. Petter I got through James Holden who I was in close contact with from his early days. James looked up to Petter immensely although he was only 17 at the time. Petter wrote “These Days” in one night, his studio was a closet at his parents place and he had no musical background.  James used to pass me cd’s with suggestions. That Petter track I remember was on the same cd with music from Starkid, Guy J and a few other that all became household names. I just wanted to push a new sound, more melodic and abstract. Deep is history now. Won’t revive that as it wouldn’t make any sense for me. And I love having a new canvas to paint on now.

So currently you are running MelodicLab Records and the recently launched District Rec. MelodicLab began in 2023, which is now approaching twenty releases, so talk to us about the thought process on creating District Rec in 2024, why the need for a second imprint and how do they differ would you say?

It's 2 different labels. Melodic is with my friend Ron ( Sagou as producer ) from the south of Holland. I helped him in 2023 to set up his first label and he was not used doing the A&R in the first year. It is hard when that is new, doing A&R. I offered to help him by doing that part a year ago and there it was that I got interested again in filling up a label again. Melodic is more anything goes but with a focus on having serious energy but could be full on house or progressive. Or a bit of Techno. And I make a lot of connections with that label. It’s good to see the label is growing a lot thanks to the producers that trust us with their music. Very cool releases coming up. Mattim EP, Kasey Taylor, The Wash, Callecat, Patch Park, Gai Barone and my friend Glenn Morrison, Sagou of course, GMJ. Jaap Ligthart, Around Us, Namatjira. We are happy the way the label is going.

District is Perry and myself, we own the label together. We strive for a certain sound we call Progno ourselves.  Mike Rish came up with that name and we stole it from him😊 A tougher energy, more early 2000 but then 2025. It’s a blend of techno and progressive. Mike Rish has got it, Patch Park has got it. Guy obvious. Cortona’s remix of Huhu is awesome. So far the releases have been doing amazing, all top 10 Beatport and people seem to respond to it. We just wanna move away from progressive in it’s current form. Not that we don’t appreciate it, so many good producers but we work from vision and sound. Perry has the last saying in it in case we disagree. Perry and myself both had labels and are experienced A&R’s. When we look for new music we don’t need many words. It’s a yes or a no. Almost is half work and half work in no work. We have a vision and he has the final word in signing a track. I like to able to spar with him and set aside a possible ego that might be in the way. We are just very, very picky. Only 10 or 11 releases at a yearly base and every release needs to have something special. Which lies in an oldskool energy we understand. And we respect each other. Yes, there is discussion but that’s good. But it is amazing to see the scene is digging what we do and rewarding us. Big name dj’s are into it and get it, our vision. DJ’s in general are getting more aware and I also think that after many years of organic house, slower bpm’s and a softer sound they love a more oldskool energy again.

Luke Chable, Derek Howell, Petter and Ozgur Can backstage at Extrema Festival 2004

What advice do you have for artists hoping to get signed to District or MelodicLab? Or perhaps what are the qualities you look for in an artist's demo or EP before considering signing them?

It’s not a secret or so. The thing is that I know so many producers, both from the early days as well new ones. And Perry does also. We get send new stuff obviously but to be honest most of the times we ask someone for a release or remix. People we like with their sound and as a person, has to be both.

For District it works different. We have a very empty release schedule, don’t look far ahead as we want to be able to release tracks on a short term. And be able to release Patch Park’s music obviously. We approached a few other names as well and we just see what comes our way. If it fits the sound of the label we will release it. I look very inward with Perry for stuff for District. Not spending time on listening to demos. We ask people specific. We get send quite a bit of demos already by new producers and a lot is good but not for District.

Could you walk me through an average, run-of-the-mill week running the labels?

I just enjoy life, work, have social connections, work in my garden, have a sweet relationship. And every day I spend time on the labels. I just really like it. Get to talk about life and music with producers and share passion for both aspects of life. And from that comes the music we release. It’s that simple.

I'm sure working with artists is a process individual to whomever you're working with at any particular moment, but do you find the general process to be easy? And what would say are the biggest factors in cultivating a healthy artist to label creative partnership?

Communication is key factor. For me it’s like a normal thing to connect with producers because I don’t know any better for almost 30 years. We just connect through passion mostly and sometimes a release comes out of it. Or something else. It does make a difference that I am not a producer. Think that is good. I don’t get lost in details, something producers with each other do a lot. Talk about the production. I ask and try to understand from a consumer when I hear new music. I love real underground music, am a music junkie for that. And I am a true bedlam DJ as they called them back in the days. I am the same person as thousands of others that buy music. I like and mix them for my own pleasure. I have a broad taste also. But it’s very important that I understand arrangements, production and sound. Best way is to mix records and this way understand how the energy works of the music.

What are some red flags that may discourage you from signing an artist? Do you look at their social media for potential fake engagement/followers or anything like that? And to add to that, what are some common mistakes artists make when approaching record labels?

I don’t look at Social media at all, doesn’t interest me for a bit. So  overrated. It’s good music or it isn’t. It really is that simple. I always say to Perry, let the music do the talking. If that’s good, Social Media is a bonus but if you have terrible music that needs social media to sell it then it’s a waste of time.

Working with someone is first of all the social aspect. If they have a big ego and can’t hold a normal conversation then it stops for me. I am a social person foremost and like to socialize with people. And mistakes? I dunno….like what I said. Be social and polite and don’t get mad if you get a no. I only focus on good music and if people have a big Social Media profile it’s nice but not at all important. Patch Park hasn’t got a big profile at all and manages to get on top out there. Cortona is just starting, no profile. Yes, ofcourse it helped Guy did the first release with a remix but I know him well enough that it is not just me he wanted to help. He needs to like the music otherwise it’s a no go for him.

How important is an artist's image and branding in today's music industry?

For festivals and labels it’s really important but to an extend. A good label that has it’s roots in fresh and good quality music it shouldn’t be important at all. I know a label like Armada thinks different about this but Bedrock for instance doesn’t really care. They can thrive on obscurity as John Digweed is a real dj, oldskool. It’s all about the music and everything else is not important. And they trust the label as an institute for quality. Armin van Buuren/ Armada is all about Social Media and their numbers. When they sign music they look at the Social Media profile also, if that isn’t good then you have a problem as producer. They wanna see engagement. When we talk about the progressive scene, which is really a small nice in dancemusic, social media profile can still be small but you can be quite successful. But we don’t give a toss, haha

Any thoughts about the streaming market and the way music is sold?

It’s totally fucked up, truly is nowadays. They are breadcrumbs being throwed from a car to keep people happy. Daniel Eck, founder of Spotify has stolen 400 million dollar almost last year from producers, there is no other word for it. Theft. I don’t even have Spotify myself. Criminal organisation from my point of view. I can bore you with numbers or data but I won’t. I know for some producers it works but being in the business of selling, developing and pushing dj tracks/music Spotify makes no sense. Let’s face it, club music is art from where I stand. You don’t just take away a piece of the art and then present as the same art. It’s almost like you have the Mona Lisa and someone cuts out the face and eyes and then presents it as the Mona Lisa. That what the big platforms like Spotify wants you to do. There is a reason a track is 7 minutes or whatever. They let producers do things they don’t want to do. Nobody I speak too is happy with the fact they need to hand in a 3 minute edit of something that makes sense in it's original form.

But do realise I talk about dj tracks.

The complete art not a fragment. Go to Bandcamp or Beatport and support the full work. Appreciate the intro, the outro, mix it, listen to it. Buy music if you are a dj. Experience a real club with dj’s playing for hours and let them take you on a tour. That music I am talking about!! It’s a pity clubs are almost non excisting. Back in my days around 2000 there where heaps we could choose from. I would see Danny Howells play at Club Stalker for 450 people all night. He would take us on a tour with his magic and you would forget space and time during those nights. Saw Danny Tenaglia at Twilo for a whole night, a big dark dungeon with a big soundsystem with no distraction. Went to Digweed play at Pacha for Renaissance doing a 5 hour set, stuff like that.

Festivals are what drives people nowadays and it’s a complete different experience. Only high’s in a short period of time. You get more fragments, not one story. People’s minds have problems also these days with sticking to one story. Can’t read a book anymore. Influences of Social Media and a platform like  Spotify. Too much choice with everything. FOMO. We didn’t have that. You don’t have FOMO if you go to a club with one dancefloor. It’s the best feeling. Like reading a good book. And leave your phone at home. Look, listen, endulge yourself in the moment and store it in your brain, not your telephone.

And, what advice would you have for new or potential label owners out there?

Only do it if you have a vision and a plan. Be a good networker and make sure you have patience. Get smart people to surround you and help you. Social Media for instance. Listen to smart people with good advice. Trust your instinct. Learn about music and it’s history. Listen to the early days of housemusic and know the difference in styles. Be curious and spend time on it on a daily base. It’s like playing guitar or piano. If you do it everyday then you get better at it. And don’t release music if it’s shit music. 32 million tracks a year see light of day and stay in the system. Don’t pollute it, cherish it. Because it only get’s harder to release music in the future and rise above the occasion. And learn some basics of the different DAW’s. Learn about A&R, what it’s all about. Publishing, contracts.

Being in the electronic music industry for the length of time you have, what are your thoughts on the current state of it?

Obviously there is lots of great music, no doubt about it. Problem is the way money flows nowadays. It has only gotten worse from what I see. Streaming is all cool but in the end the producer is not rewarded enough. I think that in some years there will be artists that only sell directly to their fans. That’s the most logical way for me. Let’s face it, one that goes on beatport, spotify or Apple or whatever searches on artist, not on label. Although there are still labels that have an amazing profile and have a fanbase for their choices in music. We try to do it too. But it  is getting less. So a logical step would be to buy directly from an artist and support them this way. The problem lies in the fact that you then need to go to different websites all the time and people are just too lazy for that. The way it is now doesn’t work. You need 30 million streams to equal 10.000 albums sales 30 years ago. Say what???

System is broken, completely broken. 99% of all efforts in music isn’t rewarded. When there is income the artists get’s paid the last and the least. The numbers prove it.  By the time you make money from Spotify you probably don’t depend on that platform anymore as you already took all the steps to get out there. Spotify sees music as content and numbers and you are a number for them that generates money. Data. Nothing more, nothing less. Like Social Media platforms like Instagram, Tik Tock, Facebook etc. Money grabbing monsters that have no interest in the human aspect. The human aspect is their data that they can sell. Hate, Greed, War, Lies, Music. Love. Jealousy. Envy. Art. All those things that they use to generate more money and power. And we feed them, smile when we do it. Mankind is selling itself out at the moment for more profit, money. Likes. Obsessed by it. Greed rules the planet at the moment. People such as Elon Musk, Zuckerberg, Trump. Criminals they are and people cheer for them. Blood sucking  vampires. Succes equals money nowadays. But that isn’t the case from where I stand. At this moment in time we are losing core values that where build after WWII. It scares me how fast this goes and one of the main reasons is the use of algorithms. The power off algorithms is a destructive one on many levels also. Mainly because people abuse it, especially on Social Media but also in music. And in the end use it for Politics. We see now where that leads too.

It’s become incredibly easy to release music these days and this has no doubt lessened the overall quality of what is out there, but aside from that, how do you think things have changed for the good and not so good across the last 2-3 decades.

In 2004 I wrote a document called “Fairshare” together with Auke Ferwerda and James Holden about the state of the industry regarding selling and promoting music. We tried to see where it was going, the dangers and the opportunities. 45 pages. A recommendation how it should be done in the future. I found it again on a hard drive a few months ago and shared it with a few people. It’s scary how right we where and it’s scary that it’s even worse then we thought it would be. Don’t fool yourself, the system we have in place doesn’t work. The amount of work that goes into a release or record and also the amount of money is so out of balance compared to what you get back out of the system. I know the numbers, see them as I talk to label owners and they share their numbers with me. It’s a labor of love. The money comes from DJ-ing mostly. And even that is only for a happy few that can make a decent living out of it.

And it will get worse, know that before you think it will be an easy job making a living from it.

Some labels are using AI to master tracks and some people are even using it to create tracks. For me this is a very dangerous area as so many tracks are made from a place of real human emotion. What do you think the future holds in regards to the role AI plays in electronic music?

What I think is not important. The technology is there and it is used and will be used. 30 years ago people said to us, electronic music is not real music, it’s made by computers. That was a common phrase in let’s say 1997. It’s no issue anymore that computers are the main factor today in making music. People are still the key factor in the final result. Now we have AI. It’s not real music if it’s made by AI is what people say now. In 20 years kids will look at you and think whatever dude, in fact it’s already happening. Music is music and in the end new generations will have their own idea about it. Maybe in 30 years everybody will have their own AI buddy that makes custom music for their owner and they will be completely happy with it as they won’t know any better. Everybody will be able to make music for the day with a couple of prompts. And labels will be obsolete and Spotify is something in history books. Nobody knows. History shows that people are obsessed by technology and use it in ways that frightens us at first and after that becomes common use and we shrug our shoulder about it and move on.

Now Deepseek comes knocking on our door, new era. It just lowered the bar to use it. Just embrace AI, it won’t go away.

Can you share a memorable or defining moment (or two) in your career that had a significant impact on you?

My first release with Deep Records, holding the vinyl in my hands. That made it real. First time we hit 10.000 people with the Extrema Festival back in 1999. One should not forget we where the 3rd ever dance festival in Holland together with Dance Valley and Mysteryland. First time James Holden in 1999 at the Deep tent at the Extrema Festival. James was so nervous he couldn’t get the needle on the record and I think every transition was a trainwreck. But his sound was so fresh and new that he got a 7 minute ovation from the crowd. Being on mainstage at Dance Valley in 2001 I believe late in the evening. The Valley with the lasers and the energy of Carl Cox. It was unheard. Goosebumps. So many memories overall to be honest. I was very privileged to witness a lot of historical moments in dance music.

How do you handle the pressure and demands of the music industry while maintaining your own well-being?

For me there is no pressure at all, only get energy from working in the music again. Left all the stress 20 years ago. Never worry. If a record does great it’s wonderful, if it doesn’t then nothing chances. The world keeps turning and after today there is tomorrow. People stress too much, worry too much. Focus on little things. Like growing your own vegetables in the garden and eat them with taste. Look at nature, be a nice person, give compliments and receive them. Enjoy music, share love, be kind and say thank you. I am less then a spec of dust, we all are. Once you understand that everything you do is forgotten after you die within 2 generations then you stop worrying. Time is the most valuable thing we have as humans so make the most of it.

Listen to the song Everybody is free to wear sunscreen by Baz Luhrmann and you’ll understand how fast live goes and make the most of it.

What is your favorite aspect of your job, and why?

The communication with producers and the guilty pleasure is receiving music before anybody else does. So many now classics I listened to when they came straight out of the oven. Back then I could be at an event or club night and I would hear a track and see everybody go wild and would realise that moment I was the first to listen to after it was made. Thankful for that, it feels like a present always. And now it happens again, amazing

If you could set up an event with a line-up of five artists of your choice, who would you book and what set times would you ascribe to the artists?

 21.00 – 22.00 Never Spring ( Ozgur Can )

22.00 – 23.00 James Holden Live

23.00 – 01.00 Mike Rish

01.00 – 03.00 Patch Park

03.00 – 05.00 Guy J

What’s something people do not know about you?

Before entering the scene again I was a Collodion Photographer. A process from 1851. Working with big wooden cameras, lenses from the 1900’s and making my own film etc. Made a book and was well known in that world. Covid changed everything for me and made me do other things again. www.beeldspraakfotografie.nl

What TV series have you been enjoying recently and what are some of your all time favourites?

Euhhh….I don’t have a tv.

What is your dream job outside of the music industry?

Undertaker. I am actually one, beautiful job. I also work as a genitor/concierge at a school 2 days a week. Love kids and their weird energy. And like printing t-shirts the old way with a print screen and ink. Have many hobbies. I have been a successful hairdresser, café/restaurant manager, Booker, artist manager, Label owner, Collodion Photographer. You can be whatever you want if you are willing to start from scratch again.

What can we expect from your labels for the remainder of 2025 – any special releases or events we should be looking out for?

It’s all in the above regarding releases. I hope we can keep growing with the labels. This year we won’t do events, maybe next year if we continue like this and it feels right. Just surf the wave of everyday and see where it take’s you.

Keep up with the latest District Rec releases here: https://tinyurl.com/4mt372xm