DJ Plead releases new album Please today via Smalltown Supersound
PRAISE FOR DJ Plead
“Please is so engrossing because it’s surprising and often raw, repurposing a language designed for dancing to say something more private and vulnerable, yet no less physically powerful”
“[DJ Plead] has made an instantly recognisable sound for himself mixing strains of dance music from around the world”
LP TRACKLIST
Return to Deuce
Stucco
Seven Eight, Too Late
pa700
Shush
Unforced Error
Ride TV
Open Era
Right On-Time
Traffic
Please is out now via Smalltown Supersound, buy/stream it here
Today, Melbourne/Naarm-based producer DJ Plead (aka Jarred Beeler) releases his new album Please out via Smalltown Supersound. LISTEN HERE.
Gleaned from a folder of 120 demos and sketches made between 2023 and 2025, after Beeler had already written and scrapped an entirely separate album, Please is a cool composite of the Lebanese-Australian producer’s distinctive musical palette, blending the techno, house, and dub of the club with the dabke, mijwiz, and shaabi keys of a Levantine dancing circle.
“An innovative figure when it comes to global club culture” (Truants), DJ Plead has built a reputation for his percussive, hard-drum sound influenced by traditional Lebanese wedding music and Middle Eastern rhythms, releasing music via Livity Sound, Nervous Horizon, and his own Sumac label. Please marks a significant evolution. Following his 2020 record Relentless Trills, released as part of Boomkat’s Documenting Sound series, which pushed beyond his club-floor bangers into ambient percussion and serpentine maqam melodies, Please is an even more personal proposition.
The album’s cover says it all: a cropped shot of Beeler holding a cup of coffee in one hand, everyday belongings in the other. Phone, keys, pills, Tiger Balm. It’s a deeply human image that mirrors the unhurried emotional resonance running through the record. Tracks like ‘Right On Time’, ‘Pa700’, and ‘Open Era’ feature sweltering keyboard improvisations set against wavering found sounds and microtonal runs, while the gently grooved piano, guitar, and bass of closer ‘Traffic’ cascade with the organic delay and decay of passing space and time.
“Some of the songs are just me playing the keyboard on top of a loop I’ve made. There’s not much production or polish to hide behind,” says Beeler. “Those tracks in particular feel quite raw.”
The result is an album that expertly navigates the obscure point between the detached and the sentimental, where the mundane, the specific, and the lightly absurd meet the deeply felt and genuinely moving.
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