Words by Rocco Universal

“They have epic sunsets. I mean absolutely epic, trust me. It’s an experience unto itself and it still has an impact on me to this day.” Fred Peterkin speaks with warmth and conviction as he recalls the glow of a Balinese sundown. Passion radiates through his voice as he joins via Zoom from New York City — qualities that have defined his three-decade career across house music’s deeper spectrum.

Though now based in Berlin, Peterkin — better known as Fred P — has been back in his hometown for a spell, performing shows and rethinking his approach. “I’m kinda doing a revamp on my business model for this year, just changing things around a little bit.” This week brings the vinyl release of the second part of his States Of Bliss album on his Private Society imprint: a collection of wide-ranging tracks shaped with a clear purpose. “When I started putting this album together, I was thinking in terms of sound destination, which is like a multi-genre thing. My intention with it is to inspire different states of bliss.” For Peterkin, music is more than entertainment — it’s communication, a way to pass on something meaningful.

Fred’s musical path spans over a hundred releases, each crafted with care and intent. His music moves fluidly through jazz-tinted house, techno and ambient, earning respect from peers and listeners alike. Raised by music-loving parents and surrounded by sound from an early age, he quickly developed a need to create his own. “Most people learn music theory to break the rules, but if you never learn the rules, there are no rules to break and you become what it is that you’re supposed to be.” His self-taught approach, guided by instinct and emotion, has shaped his distinctive sound. “As a child, how I picked up on music was through the communication of what I heard and having it resonate with me. I [started] to imitate and discover my own things… Over time, those ideas became my sound signature, and I haven’t deviated from it.”

The energy Fred first felt on New York’s dancefloors continues to drive his mission. “I always want to put positive energy out into the world, positive messages out into the world. Messages of hope, inspiration, determination. That’s always my intention, whether I’m making music or playing music. Because I know I was on the dancefloor and people were doing that for me, so I try to carry that into my music.”

That exchange of energy remains central to his philosophy. “I wanna give positive reinforcement. You know, we’re not alone, we’re all in the same soup together… to help you move in a way that will get [you] towards whatever it is [you’re striving for].” The feedback he receives completes the cycle. “It comes back to me when people let me know how they feel about what I’m doing and my work.”

Fred acknowledges life’s challenges but tries to meet them with patience and awareness. “You have to let go and flow with that energy until there is some form of resolution or understanding. And in that resolution, you start to understand the ‘why’ of it… If your reaction can be turned into a response, and that response can be positive, then you have actual growth. That’s a powerful thing.”

Staying grounded amid constant distraction, he treats positivity as a daily discipline. “I know how I want to feel, and I know when I’m there and ready for it, oh man, magic happens. I say this all the time, it’s not a slogan, it’s a way of life: my service is to the music, and the music is for the people. This is why I’m there, to serve them. And the music does its job.”

For Fred, music remains a universal form of connection. “If you had to compare people, it would be like snowflakes, right? They’re all different… The power of art itself is the communication tool that allows that possibility to even exist.”

He pauses, voice cracking slightly as he reflects on music’s power to unite. “I go to places where I don’t know the language, I might not even understand the culture, but when I play a particular record… I feel we’re all together and understand the same thing at the same time and it’s a positive, loving feeling. And I want that for everyone, all the time.”

Fred’s humility and commitment stand in contrast to the ego often found in modern DJ culture. He recognises the shift brought by social media but approaches technology with curiosity rather than cynicism. “There’s a difference between playing the fame game and amplifying the purpose… You have to decide [if you’re] going to fulfil a purpose that helps to enrich the culture and still be smart about the business, or… amplify a more egotistic approach. I happen to believe you can lead a life and a career of purpose and serve and still do smart business.”

From early platforms like download.com to MySpace and beyond, Fred has always used online tools to connect. “I’m always about the first generation technology because most times it has the best intention in mind, which is to share knowledge and expand on ideas. Then commerce comes around and changes it into consumption. But if you’re focused, you can use the best bits to amplify what you’re doing.”

Though a champion of vinyl, he embraces streaming too. “I’m not anti-digital, because not so many folks can afford turntables or a DJ setup… They should have an opportunity to interact with the music and learn about the culture some more.”

He’s mindful, though, of how the digital landscape affects artists’ income. “There’s ways you can put that together for yourself — like publishing, making particular types of distribution deals — to develop some form of economic structure.”

States Of Bliss will be available digitally and across two vinyl parts — a practical decision reflecting both economics and listening experience. “For vinyl lovers and supporters, I definitely wanted to give them these records on vinyl… But I know it’s something you can listen to from end to end and have it be interesting to you in one way or another.”

The album combines new work with older unreleased material. The “shuffling jazz” of ‘NY’ was recorded years ago in a Hell’s Kitchen hotel room; ‘Awakening Desire’ dates back four years and was originally meant for a Black Jazz Consortium release. “My intention was to start it off with some excitement… then do a rollercoaster thing into [a] more meditative [feel], and then back into excitement in part two, ending with ‘High Fusion’.”

While every track shines, ‘High Fusion’ is a fitting finale — its double bass, rich melody and propulsive rhythm closing the album in style. Stylistically broad and deliberately open, States Of Bliss invites connection. “It’s important to inspire musicians to reach out more, even in the sense of crossing dance music with other types of music.” He cites influences like Kirk Degiorgio, Domu, and Rima (Volcov and Robert Martin). “The Rima project inspires me to this day because they do that so well, and I would love for that tradition to continue.”

Looking ahead, Fred is building Private Society as a platform for like-minded artists. Next up is a collaboration with longtime friend Simbad, When The Mantras Return. “It’s a beautiful project, I totally love it.” More white labels and club-ready cuts are also planned, along with some Balearic-minded material. “It emits such a positive energy that I feel could be impactful for the community and the culture at large… We could bang it out all night, but we need something for that time too, you know. I’m building these types of releases specifically for people who still need to have that energy. There’s a lot in the pipeline.”

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