The lineup for May 9th, 4pm @zwartgoud 

We’re excited to announce a mix of local and international speakers. Can’y wait to see you in the shop! Raoul and Jan
 •⁠ ⁠Selim, creator of custom designed sound systems, powering 4 ADE locations last year, will share the story of his love for sound. And guess what. We’ll do the full session on his sound system. @sesoundworks •⁠ ⁠Fien is editor for @3voor12 , grew up on classical music and yet her range extends far beyond. Read her latest article on Rico’s (Opgezwolle) career comeback here: https://shorturl.at/sgEed •⁠ ⁠Thomas, vinyl lover, French legend, skateboarder and the brains behind turbulence.ams collective that blends techno with sleek minimal, served with a groovy and epic twist. @thomas_scaramiglia •⁠ ⁠Julia, our southern neighbour from Belgium is a proper record head and works in music production at @sonhouse , translating brand values into sound by building sonic identities that are intentional, distinctive, and deeply aligned. For her, sound isn’t decoration; it’s direction. @juliaweyts •⁠ ⁠Max an Englishman in Amsterdam, he recently fully moved over to the Lowlands and is the DJ & event organiser behind Tea Parties: @teaparty_nights •⁠ ⁠Bas will make you stop and think. He’s a poet who will share his passion for music through a spoken poem @imperfectewereld •⁠ ⁠Erwin is going to do what he does best, sharing his amazing music taste. And that’s exactly what he’s going to do @erwinswiers •⁠ ⁠Jerry aka @bandofmisfits__ will close the eve with proper house bangers. He recently warmed up for Palms Trax and organises @terranovamaastricht events

We’ve got 8 speakers on the lineup who will all share a story about one song that’s been instrumental to them. Each story is 5 minutes, then we listen to the song on a sick sound system.

Share the story behind why a record means so much to you specially. At aDeepCut interesting people share their stories. The audience can experience a new song through the lens of someone else, or appreciate a song they already know in a different way, through their story. #amsterdammusic #storytelling #vinyl #music #recorddigging

We’ll be closing the night with drinks and @bandofmisfits_ will be playing records. A true wizard 🧙 on the decks. You got to hear him play. May 9th | 4pm | @zwart_goud

**Jeremy Sylvester - G.O.D. 5 (1998)** We met Damien whilst he was on a date at Cafe de Druif. His date started to fizzle out, or Raoul and I started getting too involved with his conversation. Either way, we connected over music and Damien’s date… they’re not seeing each other anymore. For years, Damien was a staple in the Amsterdam Electronic music scene, helping run the legendary *Reaktor* parties. He lived for the “hunt,” digging through niche genres like EBM, Jungle, and Breakbeat. But when the world slowed down during the 2020 lockdowns, and after the personal loss of his father, music shifted from being a weekend playground to a vital way of coping. After one of his parties Damien, Sam (Lobster) and Cedric were sat in a car when his buddy Cedric put on a mix by **DJ Jean**, they almost laughed. DJ Jean is known as a meme “the master of the wheels of steel” DJ but as the track played, the irony faded. They realised they were listening to a masterclass in 90s electronic history, and Damien now thinks DJ Jean is one of the best there is. Something about tables turning?? Hidden in that mix was a speed garage track by **Jeremy Sylvester** (under the alias G.O.D.). They were infatuated and immediately sent the track to their friend Mitchell, who was playing an after-hours set at *BRET*. A tad later, at BRET, they could already hear the heavy sub-bass as Mitchell mixed in the track. For the first time, Damien heard this genre of music on a massive club system and in that moment his passion for the genre ignited. Daan’s story is about the power of the “shared find.” Inspiration can come from the most unlikely places, even a 90s CD mix you thought was a joke.

Pretty visitors - Arctic Monkeys From Hallelujahs to Headbanging. Eva’s musical journey didn’t start with a crate of dusty vinyl records in a basement. It started in the pews of a small-town church in the Dutch Bible Belt. Raised in a household of “big-time Jesus lovers,” her early soundscape was strictly curated by church hymns, classical CDs from her dad’s home office, and Christian children’s songs on long car rides. Her father was even a celebrated boy soprano back in the day, but the world outside of the “Christian boundaries” was a mystery. Her first festival experiences were at the Lowlands grounds, however there were no Job Jobse & Kiki at de Alfa. Instead, Eva was at *Opwekking*, where thousands of people raised their hands in praise and worship. One day, in the middle of a clothing store, Eva heard a song that stopped her in her tracks. Having grown up with limited English, she misheard the lyrics as “paper jeans,” only to go home, frantically look for the song using the wring lyrics and discover *She Moves in Her Own Way* by The Kooks. That one song cracked the door open. Soon, the choir robes were replaced by checkered Vans, flannel shirts, and pink hair (c’mon, we’ve all been there). As she discovered the Arctic Monkeys and Two Door Cinema Club, Eva found something else too: her own path away from the church. At 17, Eva went to the very first edition of *Best Kept Secret*. When the Arctic Monkeys played “Pretty Visitors,” she didn’t just watch the mosh pit. Eva BECAME the mosh pit. She lost her sunglasses in the chaos but she found a “taste of freedom” that would eventually lead her out of her small town and into a new life in Delft. For Eva, a “Deep Cut” isn’t about how rare the track is—it’s about the moment the music moves you enough to finally let go.

For Lena, the music started long before she hit the studio. It started in the back of a car. Thirty years ago, her parents packed up a van in Holland and drove all the way to South Africa and back. Which, as you can see, wasn’t always smooth sailing. But when they hit Ethiopia, something clicked—they felt at home. They returned with a stack of cassette tapes (also from Ethipia) that became the soundtrack of Lena’s childhood. Most notably the wild, soulful saxophone of Getatchew Mekurya. Fast forward to 2004: Lena’s dad, a musician himself, decided to find the man on the tapes. They traveled back to Addis Ababa, tracked Getatchew down, and brought him to Holland to play a show. What started as a fan’s mission turned into a decade-long family friendship. To the world, Getatchew was a jazz icon. To Lena, he was a grandfather. They couldn’t speak to each other. He knew no English and she knew no Amharic, but they spent years together eating, traveling, and sharing stages. Getatchew taught Lena that music is the ultimate bridge. He proved that age, gender, and culture don’t matter; if you connect over one thing, you can be great friends without needing a single shared word. He also gave her the most important advice for her own pop career: **Make it your own.** He told her that true power comes from being unmistakable, from having a sound so unique that people can recognise you the second you start to play.

**The Band - The Night They Drove Old Dixie Down (1969)** From a young age, music was central to Milan’s life; his mother proudly recounts how he would instinctively pick up and play any instrument, from his grandpa’s piano to his uncle’s trumpet. His commitment to music solidified when a high school friend, Renzo Hendrix, encouraged him to take up the bass guitar, which remains his instrument to this day. Milan’s path took a crucial turn when he discovered a new record while searching his grandfather’s attic, amidst classical Mozart and Bach, he unearthed a live album: a four-and-a-half-hour registration of the goodbye concert of a band he’d never heard of. The song that instantly captivated him was “The Night They Drove Old Dixie Down” by The Band. As an “angry adolescent,” Milan was completely blown away by the intensity and intention of the rhythm section the interplay between the bass and Levon Helm’s drums. He was especially struck by how Helm’s vocals and drumming were so intertwined, setting the bar for how Milan would approach music-making with the same visceral energy. The song’s sound, with its military-style ruffles and beautiful horns, always evoked a feeling of both a solemn memorial and a celebratory parade. For Milam, the track is a powerful source of comfort and strength, enabling him to feel the beauty of pain without being drowned by it. It perfectly combines mourning and celebration.

Freddie Mercury - The Great Pretender (1987) Manon, grew up in a small village in France. While her parents disagreed on many things when it came to Music e.g. the Beatles vs the rolling stones they united over one thing: their love for queen. Manon considers having been alive at the same time as Freddie Mercury as a great privilege. She remembers seeing him for the first time which ironically made her realise that she was straight. However, the realisation that Freddy had spent much of his time pretending broke her heart. He was haunted by the unfairness of a world that forced such a charismatic figure to live in secret, never publicly coming out while he was alive. This sorrow and frustration drove Manon to spend four years writing a book dedicated to Freddie. Through the research she learned an important lesson: "We only take what we want from others. We don't take people as a whole, with beauty and scars." This often forces people to pretend. Manon chose the song "The Great Pretender" from Mercury’s solo career; a cover originally by The Platters. The theme of pretence resonates so deeply with his own shyness and insecurities. For Manon, the song is a deep cut because she is still pretending that Freddie Mercury is still around.

Never meant to make your daughter cry. I aplogised a trillion times. I’m sorry Ms Jackson.

Take your protein pills and put your helmet on

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