Belgian Man Records

Belgian Man Records is a collective of artists that began in lovely, historic Concord, MA, but is currently based in Chicago, IL.

We record music, film videos, make art, and play shows.

All of our music is licensed under a Creative Commons by-nc license, which means you’re free to share, remix, and re-use it non-commercially, provided you give attribution to the artist. If you’d like to use Belgian Man music commercially, email Andrew.



MAYBEWISE is playing at TRUEWAVE on the 29th of August, along with Flamingosis, and Louis Futon.

You know what they say. The first taste is sweet. But the second is the one that gets you hooked. TRUEWAVE is back like trapper keepers and lunchline cuts. We’d like to thank everyone who supported us with the first edition. Big Time Vibes. This time around we’ve tightened up a few things and brought on a few new residents. You can expect enhanced party visuals, songs that probably won’t wobble, vibes so thick you need 3 Slurpee straws, and room to actually dance. So drop by again Philly. No pressure. We’ll just be chillin.

Truly yours, TRUEWAVE

You can get tickets on eventbrite, or find more deets on TRUEWAVE’s Facebook

Introducing Wafelijzer News

Andrew Monks

I’m super excited to publically release Wafelijzer, the software that powers the Belgian Man website.

Wafelijzer is web software you can use to make a beautiful and easy-to-run website for your record label or collective.

You can get it up and running in 5 minutes or less, and add artists, albums, news, videos, or even sell merch using the simple online interface.

Wafelijzer looks fantastic out-of-the-box, but it’s also totally customizable. Theme it up to your heart’s content.

You can find more details on the Wafelijzer page.

MAYBEWISE interview in Future Classics Press


Future Classics posted an interview of MAYBEWISE’s EP, Welcome To The Fishbowl:

How long has MAYBEWISE been in effect? And where did the moniker come into play?

Welcome to the Fishbowl marks the first release of the MAYBEWISE venture, but Peter has been producing and djing for nearly a decade, going under a number of other monikers and concepts. Patrick is pretty new to the game, but he brings the X factor and the life of the party.

The concept for the project started as an exercise in synergizing all the different styles of UK bass music we liked and then kind of took on a personality of its own.

How does the duo function, i.e. what roles do each of you share or assume?

Our process really has two stages: Sample gathering and production.

Most of our sounds are field recordings (percussion especially), so we go out pretty often to random places and record ourselves hitting things with sticks. A recent trip to Home Depot was a highlight; you walk around there and you’ll realize its just a giant warehouse of percussion. Other times we’ll just watch old movies and record the sounds we like. Our personal sample library is massive.

When it comes to studio work, Patrick is the wildcard. He usually comes up with a number of substance-fueled sketches on any given night and then Peter polishes them up while Patrick sleeps off the debauchery.

Catch the rest of the interview over on Future Classics

Welcome to the Fishbowl EP


If you had to ask Peter and Patrick what their music sounds like, they’d probably have a hard time putting their answer into words. As natural sound/touch synesthetes, chances are they’d much prefer to describe it in terms of feels. Or maybe just the things they hit with sticks to make silly noises.

Peter and his leporine familiar, Patrick, are MAYBEWISE, an exploration into the more visceral corners of the future bass scene, walking through a contemplative blur between abstract space and dark UK club. Welcome to the Fishbowl, released on the Belgian Man Records imprint on 5/31/14, is at once a culmination and deconstruction of 10 years of intake and output, finding a strange place where autonomic, UKG, and oldskool dubstep can all play together.

When not recording funny sounds in the park, Peter and Patrick can be found in the left part of Philadelphia.


Art: Chris Johst Mastering: Luc Lacerte

MAYBEWISE in The Ripe Press


Marcus at The Ripe posted a fantastic write-up of MAYBEWISE’s new single, No One Else:

Maybewise are Peter and Patrick from West Philadelphia who make future bass music that᾿s not far removed from Disclosure᾿s 2011 Carnival EP. A collection of tracks focused more on simple vocal hooks and sample, not the structured verse/chorus songs of their debut album Settle.

᾿No One Else᾿ comes off the duos forthcoming EP ᾿Welcome To The Fishbowl᾿ out May 31st via Belgian Man Records and it᾿s incredibly hard to dislike.

The track is produced in good UK bass taste, every layer is dabbled lightly and even when the arrangement gets really busy towards the end, you never find yourself suffocating and searching for air. It᾿s a safe bet house party track that will have your friends asking “who is this?”.

Check it out over at The Ripe. Thanks, Marcus!

TOKYOMEGAPLEX and ABSRDST remix featured on Nest HQ Press

Tokyo Megaplex

TOKYOMEGAPLEX and ABSRDST’s fab Rock The Boat remix was featured on Nest HQ

Newfound favorite ABSRDST teams up with fellow Massachusetts producer and SSX Tricky repper, TokyoMegaplex on a sultry bedroom jamming flip of Aaliyah’s “Rock The Boat.” While 2K R&B vocals have been all but tapped out in terms of slowed-down soundcloud-step reworks go, this one stands out with a unique blend of call-and-response techniques featuring a complex layering of jazzy chord arcs and colorful dispersions of soft synths which slide into whiplash snares and punched-up piano cuts.

Read the article on Nest

Nice Power writeup in Caterwaul Press

Nice Power

Nicholas Hodges at Caterwaul just posted a super positive review of Nice Power. Check it out.

The French Electropop duo release their debut Sounds Good BB in one of the most abrasively innovative years and decades in music history. It is a smothering depiction of individualism. Each track poses a flamboyant diversification that intricately explores their vast arsenal of electronic influence. Plunging from Ambient Techno, to Phunky Detroit House, climaxing somewhere in between the line of subtle hyperactivity and clamoring percussive sections—between a washed down pseudo Steve Murphy set and a beat/synth loops that resemble sonic textures found in Tron’s score. 81’ Tron; let’s be serious, there was only one real Tron movie and it had a young Jeff Bridges.

Thanks, Nicholas! Check out the rest of the article over at Caterwaul.

VIDEOJAMZ #3 - Kuh-Lida + a peek behind the scenes Demo

Fenn Macon: Video

Kuh-Lida: Music

This videojam has 2 Kuh-Lida songs on it, “Riding Shotgun In The Batmobile” and “Things I Have Done [iloveyouall]” from his album High Top Blazers. As you can see, I kind of set this one loose and watched what it came up with, which blew me away. Also, to get the process started, I had to fiddle with some stuff in my patch. I usually do this with touchOSC or with a separate monitor, but in keeping with Kuh-Lida’s Chicago roots, this was a quick and dirty jam.

Sounds Good BB <3 LP

Nice Power: Producer

For really real, my attractive and urbane listener. Me and my friend Alex Meiers were walking along Paris minding our own biz one day when handsome gargoyles on the facade of Notre Dame, or maybe urban falcons–it’s hard to say, arched gracefully overhead and dropped the ableton files for Sounds Good BB <3 carefully into our hands. That’s exactly what happened.

Influenced by Brainfeeder and Soulection stuff, T!be, Dorian Concept, French House, experimental hip hop, sound art, etc. (also with a background in multi-instrumental musical theory); you can’t describe Nice Power because it’s from the future l0l. But you can hear it and it will make you happy! Damn, whp$hhhh!

We would love you to listen!

Much love,

Sam Balfus and Alex Meiers AKA Nice Power

Chitown, LA, Paris

Since Sixteen LP

Fenn Macon: Producer

Since Sixteen is a collection of songs that I’ve written and rewritten over the past five years of my life. It is a record about the search for security, home, friends, a stable relationship, and a better mental state. These songs have been the closest thing I’ve ever kept to a journal, the lyrics come from mantras that continually ran through my head as I’ve been growing and trying to find my place in the world. I’d like to think that I have things figured out, but I’m sure that I’ll look back at these years and realize that I was wrong about everything. When I was sixteen, I was in a band. By the end of my freshman year of college, all of my peers and I were making music on a laptop. As we’ve been exploring the electronic music realm, I’ve found myself increasingly drawn to the music of my past, on long walks and secret drives listening to old mixtapes filled with Death Cab and Brand New songs. I’ve been trying to find a way to marry the two styles in some form and bring the songs I’ve been writing on various pianos and guitars to life. This album couldn’t have been made without everyone in my life, and I want to extend a special thanks to Ailey for singing on †rain†racks//ceme†eries, Since Sixteen, and Hopscotch, and also to Marina for singing on Let It Die. I also want to thank Luc Lacerte for his amazing work mastering the record, Paul Puiia for artwork, Jasper Boyd for engineering the vocals, everyone at Belgian Man Records, and all my friends and family for supporting and putting up with me.