Dimitri has always had a mind of his own. In the summer of 2007 he decides to take a sabbatical, after having played for 23 years in a row. He trades the club scene for a farm in the north of Holland, while taking care of mentally disabled kids on a voluntary basis. In the meantime he still keeps himself up to date with the latest releases. After a 3 years time-out he feels it is time to get back to his fans. He celebrates his comeback on June 16 2010 at club Trouw in Amsterdam, the start of a residency at one of the best dance venues in Europe. He owns this to the fact that he bridges the gap between the first and second generation of dance adepts, combining in his sets only the most remarkable classics with the cutting-edge sounds of today. His all nighters are truly highly anticipated events. Famous festivals like Awakenings, Loveland and Mysteryland are still happy to add him to their line-ups. And last but not least: he releases his first EP on Planet E, with remixes by Carl Craig and Orlando Voorn. Things keep on working out pretty well until January 2013. Due to a bacterial infection Dimitri finds himself in a university hospital, his life hanging by a thread. But he is determined to fight back. His recovery amazes even the most experienced surgeons – he lost his lower right leg though – and in just 5 months time he is back on track. His new prothesis and his fitness regime enable him to stand on his ‘feet’ again, maybe stronger than ever.
September 7 2013 will always be remembered as Dimitri’s second comeback at Trouw. That night he takes the crowd on a very personal journey, getting rid of all the anxiety and pain of the previous months. And most of all: proving that music has the power to heal, one of his strong inner beliefs. In the near future Dimitri will go on spinning records all over Europe and hopefully the rest of the world. Mysteryland USA (Woodstock, USA) will be his first big appearance abroad after his illness. Producing and mixing music will more and more become part of his ‘core business’. And good news for – young – talent: in the summer of 2014 he will start teaching at the School of House in Amsterdam, giving masterclasses to anyone with a heart for playing or producing electronic music. Dimitri is here to stay… and the best is yet to come!
The music career of Dimitri Kneppers’ (1967), better known as ‘Dimitri from Amsterdam’, reads like an encyclopedia. A Dutch house encyclopedia, that is. After 30 years of spinning records you could call this DJ a true veteran, known for his enormous sensitivity, true feeling and mixing skills. Hardly anybody ever felt and looked so comfortable behind the decks as DJ Dimitri. Ecstasy is no longer just a word, but a true magical moment as the crowd, the surroundings and the music all come together in one hypnotizing state of happiness. This man knows -or should we say feels- what he is doing, not only behind the decks but also when producing his own music. In 1988 Dimitri obtains his first residency at club Richter in Amsterdam and starts spinning in the legendary RoXY, where he distinguishes himself from the rest of the DJ-ing world through his bold and innovative mixing techniques. Dimitri is one of the first DJs to mix a house record with breakbeats or drum ‘n bass, proving he is not only capable of mixing those two records together by tempo and rhythm , but also just by melody or tune/pitch, creating real-time compositions. At that time this was really groundbreaking. A style that has been copied ever so often, although never truly coming close to the master himself.
By 1991 Dimitri spins at all the major (warehouse) parties in the Netherlands, Belgium and Italy. He brings out his first record and starts his own label B.E.S.T. (Beautiful Soul Techno). From 1992 onwards he continues to take over the club world with gigs from Brussels to NYC and from Paris to Detroit – Derrick May becomes a close friend – and starts his famous ‘Hi-Tech Soul Movement’ club night in RoXY on Thursday nights. People from all over the country come to check out his distinctive taste of records and to hear his ‘no concessions policy’ when choosing music, in which many consider him still truly authentic.