Bel Air by Dzheimz: A 1998 Estonian Electronic Gem That Still Resonates
Dzheimz's Bel Air, released in 1998 via Wix Records, is a wild ride through the electronic music spectrum. This Estonian project pulls together Progressive House, Drum n Bass, Jungle, and House into one cohesive yet chaotic album. It’s not perfect, but it’s got character—like that friend who always has something interesting to say, even if they trip over their words sometimes.
The standout tracks here are "U Want Me 2 Be" and "Illusions (Drummie's Retouch)." Let’s dive into why these two stick with you long after the headphones come off.
"U Want Me 2 Be" feels like a late-night conversation where no one wants to leave. The beat builds slowly, teasing you with layers of synths before dropping into this hypnotic groove. Probe’s remix version adds an extra layer of grit, almost like he took the original track out for drinks and convinced it to let loose. You can hear shades of classic house influences, but there’s also this raw energy that screams ‘90s underground rave culture. It’s memorable because it doesn’t try too hard—it just flows naturally, making your head nod whether you want it to or not.
Then there’s "Illusions (Drummie’s Retouch)," which flips the vibe entirely. Where “U Want Me 2 Be” is smooth and sultry, this one hits harder. Drummie takes what could’ve been a straightforward jungle track and twists it into something darker and more complex. The bassline growls under glitchy breaks, while eerie pads float around like ghosts at a party. If you’re listening on good speakers, the low end will rattle your soul. This isn’t background music—it demands attention. And honestly? That’s what makes it unforgettable.
What’s wild about Bel Air is how unapologetically experimental it feels. For every polished moment like “Electronic Pleasure,” there’s a rough-around-the-edges cut like “VHF-1” that reminds you this was made by humans, not algorithms. Tracks bleed into each other without warning, mixes vary wildly in quality, and some songs feel unfinished—but that’s part of its charm. It’s messy, sure, but so was the era it came from.
Looking back, it’s kind of nuts that this album came out of Estonia in ‘98. At the time, most people weren’t paying much attention to Baltic electronic scenes outside niche circles. But Dzheimz proved they had something to say—and said it loudly enough for listeners worldwide to notice.
Here’s the kicker though: despite all its quirks, Bel Air still holds up today. Maybe it’s nostalgia talking, or maybe it’s proof that great ideas don’t need perfection to shine. Either way, give it a spin when you’re in the mood for something unpredictable. Who knows? You might find yourself zoning out during “Island” only to snap back when “Jaywalk” starts thumping again.
Final thought: If albums were people, Bel Air would be the guy at the club wearing mismatched socks but somehow pulling it off anyway.
