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Record Reservoir isn’t my usual guest. He isn’t someone I met at the club, or saw play out and decided I needed to ask for a mix. I first discovered him in 2023 on TikTok - he was one of the first accounts posting early 90s/2000s record IDs on TikTok which I really connected with, and I started digging on his channel quite regularly.
At first I felt slightly embarrassed by digging on TikTok.. it felt like I wasn’t doing enough to discover new music. It felt too easy? I think because it was being sent to me through an algorithm, it felt like cheating?
Although digging through an algorithm has predated TikTok - YouTube channels have long been a form of digging in the community and while I personally haven’t ever found a system that works for me, I have friends that always dig this way, and I have a channel I always check out (shoutout Wandering Endlessly).
If there is one redeeming quality about social media, it’s the ease with which you discover music through it, now both old and new. I suppose that was the internets function in earlier states: to connect people regardless of an algorithm. Although now, the supercharged algorithms which we scroll are able to refine these selections unbelievably well. It begs the question: Is the TikTok or instagram channel a modern record shop? Maybe record shop isn’t the correct metaphor… but the display which sits in the window in a shop? It is of course, never to replace the physical record shop, but it is a curated collection of music which is standout to the individual, one which highlights their taste, and looks to educate the audience on the history or connection to the track they have.
While scrolling, Record Reservoir would often pop up on my feed and I found myself identifying with his taste. We met for the first time (irl) at Dimensions in 2025, and then again at a show I played in Dublin at Tengu earlier this year. I asked him to record a mix because even though I haven’t seen him dj, it’s clear his taste is something I admire, and I wanted to hear how we would put these tracks together.
This interaction between us feels something of an internet that once was - strangers who admire each other's music taste from afar for a few years eventually ending in some sort of collaboration. It reminds me of the days of forums, of Facebook groups, of older mix series, of a time where things could feel more spontaneous and natural, and you weren’t second guessing someone’s influence and if they paid for the positioning in your feed.
I loved this mix so much. I’ll let it speak for itself. I hope you enjoy :)
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Peach: Hi Record Reservoir :) Thank you for being part of the Sixth Sense mix series. How are you?
Record Reservoir: I’m great! Thank you so much for having me on.
P: I’m not sure I actually know your real name. I think you told me it the first time we met but I’ve totally forgotten.
RR: Yeah, I always forget how faceless the account really is hahaha, my name is Keith.
P: Where did you grow up?
RR: Dublin 🇮🇪🇮🇪🇮🇪
P: Where are you based now?
RR: Right now I’m based in Berlin for college.
P: What are you studying in college?
RR: Property Economics
P: Have you always lived there?
RR: Most of my life I’ve been in Dublin, but I’ve been back and forth over here a lot.
P: What is the scene like in Dublin? Can you share with us your early memories in the rave?
RR: I hear stories about it booming in the 90s and 2010s but I only properly started going out to see DJs and clubs after Covid. It's definitely growing, there are so many great events all the time but the early closing laws can kill it a bit.
I actually don’t have too many, when I was younger I would go to clubs that were available, but it wasn’t exactly my taste, so I would try to go abroad with my girlfriend. I would say most of my clubbing was probably done in Berlin, I remember my first time going out here was to a club called Anomalie, which was mainly minimal techno, but the environment was definitely an experience hahahah.
P: What do you mean by an experience?
RR: It was just an environment so foreign to me looking back. How people behaved in the club and how everyone really seemed like they were there for the music. I remember the sound system really made me understand what it was all about.
P: How long have you been collecting music?
RR: Digitally, as in just saving things online, I would say since I was about 14-15. However, I got really into wanting to make a lifelong commitment to it in 2022 after I realised it went wayyyy deeper than the main surface-level platforms. I think this probably stemmed from when I first came to Berlin for the summer a few years back and heard so much amazing music that just totally shifted my taste and opened my eyes, I have to credit Vitamine for this. After I saw Leo play at Fandango I was blown away and spent the next week going through their channel, which then led me to Discogs, record shops, etc. I would say this was the real start of the digging journey, and it's become purely an obsession ever since.
P: When did you start Record Reservoir?
RR: October 2023
P: What inspired you to start a TikTok channel & how has it been going so far? I noticed there is a community of you all on TikTok especially.
RR: I’ve always loved sharing music with people since I’ve been really young. I was the type to spam my stories with songs and I always wanted to be connected to the speaker in social settings. The people in my life when I started the account weren’t really into what I was into at the time. So I thought it would be a good idea to use Instagram and TikTok as an outlet for sharing with people who were open to it and to connect with people who had the same idea.
It’s going great! I’ve met so many cool people, like yourself, & discovered endless amazing music, which is all I could want from it.
P: Gatekeeping has been a very common practice in digging culture and I think that comes from a scarcity mindset towards not being sure you’ll find another track again. Do you ever feel worried you might never find another great track when you share a new one?
RR: Yeah, I can understand the gatekeeping perspective completely, but it’s just not me. I think everything should be shared (at some point), and people should be able to have the leisure to experience all music and discover their own taste. I think it’s one of life's greatest pleasures. No producer has ever made something to collect dust.
Nevertheless, I do have dry phases from time to time, but it always go away. I always get the bug for it after I hear a great set, like yours in Tengu, or go to a festival. The world of music is never-ending, and that’s honestly something that gets me up in the morning.
P: That’s something I love about digging too - you will simply never be finished with it. You will never have it all. When you say “at some point” when is the right time for you? Do you wait? I know sometimes if I find something precious I will hold onto it for a few weeks or a month before I give it away, but I always do like to share it eventually.
RR: Yeah exactly that. Sometimes it just feels nice to enjoy a track for yourself and have some time with it and think about; What do you like about it? How does it make you feel? Do you even really like it? Or is it just something others would like? Especially with something that really makes you think, it can be difficult to answer these questions, so it can be nice to sit with it without any external opinions. I also think these are the questions that help you refine your taste and figure out what really does it for you.
P: If I’m honest, I feel like sharing tracks eliminates this barrier and forces you to look harder. What do you think?
RR: Yeah definitely, with it being so accessible in today's world, it really makes you put in the work if you want to show the people something new. I understand if you’ve been sitting on a gem and next thing you know it’s on your fyp with thousands of views it can be frustrating.
However, whether it benefits the producer monetarily or not, I think these people that have contributed their time to creating great music deserve all the recognition they can get and need to be celebrated as the primary focus, not the consumer.
P: Do you feel a responsibility to share the ID’s of older music?
RR: I wouldn’t so much call it a responsibility, but more of a combination of having the pleasure of doing it, wanting to show something listeners may have underappreciated/never heard of/have forgotten about, and where my taste is currently at.
Something I definitely want to do more of in the future is share newer/unreleased music from artists that deserve the recognition, but I’m also really afraid of polluting the page with too many promos, so it’s something I want to work on.
P: What do you do outside of curating the page?
RR: I love seeing new places, meeting new people and experiencing cultures :)
P: Do you make music as well?
RR: I don't. People always ask would I consider it but I just feel like I would not have the patience for it. It makes me feel so much respect to everyone who does.
P: Sunrise or Sunset? What is a track you would play during Sunrise or Sunset?
RR: Love this question! Definitely sunset, I’m very, very rarely a 7 am person hahahah. A really difficult choice but it would probably be Valerie Harley - Kiss This Love Goodbye (Smooth Kiss J.A.M.) A beautiful 10 min, 90s, US house track that I always come back to. Or Cold Automatic Eyes - Lift ‘Em (Higher Baby) which needs no introduction, gives me goosebumps every single time I listen to it.
P: What was your inspiration behind the mix? Was there a track you were especially building to?
RR: My inspiration whenever I record a mix is always just whatever tracks I’m currently loving and I try to work around them.
There is maybe 2 or 3 but I think the one I was building to and most excited to play was Franck C. - Free, the closing track. This one is purely a masterpiece, it just gives me a certain feeling I can’t describe.
P: Who are your favourite DJs? Who inspires you?
RR: Such a tough choice, but I think it would have to be Laurine & Cecilio. You can really tell how much time and effort they put into their craft and how much they live that 90’s prog house and trance era. When you hear them play, it feels like they have full control of you. I was almost in tears after their set on their boat party at Dimensions 2025
P: How did you record this mix?
RR: It was recorded in Noisy Rooms Studios in Friedrichshain.
P: Can you tell us where we can see you DJ over the next while?
RR: SoundCloud! I don’t DJ very often at all, but it’s something I would like to do more of in the future.
Tracklist
The Crystal Method - Name Of The Game (Eric Kupper Electrosphere Mix
Immobile Disco - Bring The Acid
Un:Plug Feat. Mutabaruka - Time Unlimited Pt. 2 (DJ Garth & Markie Mark Wicked Mix)
Cutlab - Space Allocation
Narcotik - Conditions (Xportent Mix)
Themis - Close Your Eyes
DJ Hal - Exit Noise
Urban D.K. - It’s Gonna Rain (Terry Francis Dubwise Remix)
DJ Quiz - Litle Awesome
WR - www.azs2000.com (Miguel Migs Naked Vocal Mix)
Slam - Fast Lane
Alan Barratt & Yann Solo - Number Two
Rob Mooney - Hastey Retreat
Intercourse - Lost (Louder Sub Mix)
Doodlebug - Loose In Your Mind (SIlverlining Remix)
SCSI-9 - Location 2
Franck C. - Free (Original Extended)