Meet the artist: KURIR
by 1 July 2025
SAY HELLO TO KURIR
Besides our roots in old school techno, which we like to emphasize at MEUK, we also often underscore our underground sound. Mainly to distance ourselves from mainstream techno, but also because — without consciously seeking it out — we feel attracted to it. That was certainly the case when Eva Bohnen discovered KURIR: it was an instant attraction to his sound. She’s often been playing his tracks in her sets since day one.
KURIR’s journey into music spans decades, genres, and creative mindsets — from playing the flute and rapping in local clubs to churning out four techno tracks a week. What ties it all together is his restless curiosity and deep emotional connection to sound. His approach to techno is raw, intuitive, and refreshingly unorthodox. And that’s what we love about it.
“I can recognise a KURIR track from miles away”, as Eva puts it, “It just really stands out”. So yeah, we’re pretty proud to announce his upcoming release on MEUK Records. Eva and KURIR planned this months ago, so it was about time!
We’d like you to know more about the person behind the music. In this interview, KURIR tells you about how his background shaped his current sound, why he chooses to stay underground, and how music became more than just a creative outlet — but a necessity for life.
Can you tell us a bit about your musical background? Where did it all begin?
“As a child I was surrounded by music — rock, jazz, funk, soul. I started with the flute and later moved on to drums. Beats and rhythm became part of my DNA. In the ’80s I got into synth music and heavy metal, and when hip hop arrived, I started rapping and performing live. I was also experimenting with recording gear like 4-channel tape decks and early studio setups. That mix of rhythm and texture still echoes in what I do now.”
That’s a versatile musical background, from which you can probably draw a lot of inspiration. When did electronic music — and techno specifically — become part of your story?
“In 2005 I started experimenting with FL Studio and shared tracks on MySpace, but it wasn’t until 2020 that everything clicked. I made a track called ‘On A Roll’ — that was a breakthrough moment. From then on, I was all in. I started producing 4 to 5 tracks a week and never stopped. I used to worry about the quantity, but a friend told me: ‘Sometimes you have to go through quantity to reach quality.’ That stuck with me.”
And what kind of space does producing techno occupy in your life right now?
“It’s everything. It’s oxygen. I don’t make music because I want to — I do it because I have to. It’s a matter of survival. I don’t think about the listener when I produce. I’m not chasing trends or feedback. I’m chasing what’s inside me. That might sound self-absorbed, but to me, that’s the only way to stay true. Music has saved my life — and I mean that literally.”
Your process sounds intense — how do you keep it creative?
“To stay creative, I sometimes set limits for myself: no more than ten samples, no effects or sounds I normally avoid. I flip my habits on purpose to surprise myself. I want to push the boundaries — not just in what I make, but in how I make it. As for my setup I just use FL Studio on my laptop. That’s it. It’s simple, it works, and I feel completely free within that space. I don’t believe you need more gear to make good music. What matters is the mindset. In my sound I strive to have both harmony and contrasts. When I am searching for sounds, like on Splice, I always look for the obscure, things that might seem like noise on their own. I give them a new context, a new value. Working like this means that I never know what my next track will sound like. This is how I keep it creative.”
A question we ask every artist: what does the concept ‘techno’ mean to you? And how would you define ‘underground’?
“For me, techno is music that moves you, both physically and mentally. And the underground is where innovation and evolution happen, and this is where I want to be. I don’t compromise when it comes to my music, and I try to surround myself with like-minded artists and labels who have the same philosophy.”
Talking about labels, you’ve self-released most of your music. What’s the story behind that?
“I’ve found that self-releasing gives me the flexibility to move at my own rhythm. I produce a lot of music, and I enjoy being able to share it whenever it feels right, without waiting on schedules or approvals. It also gives me full creative control, which is something I really value. That said, finding labels that really resonate with my music can take time — so when I do connect with the right people, it feels extra meaningful. One of my most-streamed tracks on SoundCloud — You Make Me Feel (MAJESTIC) — is self-released, which shows that doing things independently can work out just as well.”
And yet you decided to work with MEUK Records, which we are very happy about. Can you tell us how that came about?
“I first got in touch with Eva Bohnen when she started playing several of my tracks, and from there things just clicked. So for me it was just a natural choice to try and get a release on MEUK! I really respect Eva’s taste in music, and I feel that MEUK’s uncompromising philosophy goes very well with my own outlook on music. For me it’s more important to have a common perspective rather than get a release on a bigger label — like I said, it’s all about building connections based on integrity and mutual respect.”
We are very happy with that decision! Any final thoughts on the upcoming EP?
“The four tracks on this EP follow my most typical approach: driving beats, distinct sounds and groove — well-suited for dark, sweaty clubs, but also interesting to dive into at home. The titles usually come last and are shaped by whatever mood I’m in, things going on in my life, or associations I get from the track. After making hundreds of tracks over the past few years, trusting my intuition became second nature.”
the REMEDY EP
TRACKLIST
1. Deteriorating
2. When The Remedy Is The Poison
3. Compliance Rejected
4. Wreck
Release date: 22 July 2025
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