Imanbek: Biography, Discography and More | EDM Encyclopedia

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Introduction

Imanbek Maratuly Zeikenov, known professionally as Imanbek, is a Kazakh DJ and record producer who gained international attention through a remix that became a commercial phenomenon. Based in Kazakhstan, he transformed a single production decision into a career spanning multiple years of original releases. In 2019, Imanbek produced a remix of Saint Jhn’s “Roses,” a track that came to define his public profile and opened doors to global electronic music circles.

The impact of that remix was formally recognized in 2021 when Imanbek won a Grammy Award in the Best Remixed Recording category. This achievement carried significance beyond personal accomplishment: he became the first Grammy recipient from Kazakhstan and the first Grammy award winner in a non-classical category from within the Commonwealth of Independent States. The Commonwealth of Independent States, a regional organization formed after the dissolution of the Soviet Union, encompasses several nations across Eurasia. Imanbek’s win brought visibility to electronic music emerging from this region, which had previously received limited recognition in major award contexts outside classical categories. For an artist working outside the traditional centers of popular music production, the Grammy represented an unusual breach of geographic barriers in the industry.

Active from 2020 to the present, Imanbek has built a discography of original material running parallel to his remix work. His first confirmed original releases arrived in 2020, with output continuing through 2023. Rather than relocating to established music industry hubs, he maintained his base in Kazakhstan while releasing music through digital platforms that allow global distribution without geographic constraints. His catalog demonstrates a consistent work ethic, with releases spread across four years encompassing both individual singles and extended play formats.

Genre and Style

Imanbek operates within the deep house and electronic music space, building tracks around a specific set of production choices that prioritize accessibility and rhythmic immediacy. His sound centers on prominent basslines that anchor each track’s harmonic structure, combined with vocal processing that transforms sung or sampled vocals into textured melodic elements. The result is music that sits at the intersection of club-ready production and pop-oriented songwriting.

The deep house Sound

His percussion programming relies on four-on-the-floor kick drum patterns, layered with crisp hi-hats and synthetic claps that provide rhythmic motion without overwhelming the melodic components. Tempos remain consistent within dance music range, designed to function in DJ sets while remaining accessible to casual listeners. Rather than extended builds and breakdowns common in underground house, Imanbek favors condensed arrangements: tracks that reach their core ideas quickly and maintain momentum throughout shortened runtimes suited to streaming consumption.

Vocal treatment serves as a defining characteristic of his EDM production. Voices in his tracks undergo pitch shifting, layering, and effects processing that transforms them from straightforward performances into textural instruments. This approach creates a blend where vocals function simultaneously as lyrical delivery and sonic texture. His willingness to present acoustic versions of his material reveals that beneath the electronic production lies melodic writing intended to stand without embellishment. The duality suggests a producer who views electronic production as one possible presentation of a song rather than its only valid form.

Synthesizer selection in his tracks tends toward warm, rounded tones rather than harsh or aggressive timbres. This choice reinforces the accessible character of his music, creating a sound palette that feels inviting rather than confrontational. Even in tracks built for club play, the overall mood remains melodic and vocal-focused rather than driven by pure rhythmic intensity. EDM mixes are clean, with each element occupying defined frequency space: bass provides weight, mid-range synths and vocals carry melody, and high-frequency percussion adds detail. This clarity allows his tracks to translate effectively across playback systems, from headphones to club sound systems to radio broadcasts.

Key Releases

Imanbek’s confirmed discography spans from 2020 to 2023, encompassing four singles and four EPs. His first releases arrived as individual tracks before he transitioned to extended play format.

  • Singles (2020)
  • I’m Just Feelin’ (Du Du Du)
  • Brother Louie
  • Blackout
  • Hey Baby

Discography Highlights

Singles (2020)

The year 2020 saw four confirmed single releases. I’m Just Feelin’ (Du Du Du) led the series, followed by Brother Louie, Blackout, and Hey Baby. Each track applied his bass-driven production style to condensed, vocal-focused arrangements. These singles established the foundational elements of his sound: prominent low-end, processed vocal hooks, and streaming-friendly runtimes. The four tracks share a common production framework while varying in vocal approach and melodic content, each constructing a complete musical statement within a compressed timeframe rather than relying on extended introductions or outros.

EPs (2021)

In 2021, Imanbek shifted to EP-length releases with two projects. Bang (2021) presented his electronic productions in full, while Bang (acoustic) (2021) offered the same material stripped to its melodic components. The parallel release strategy provided listeners with two distinct experiences of identical compositions: one layered with his characteristic production, the other revealing the underlying song structures. This dual release coincided with his Grammy recognition, bringing increased visibility to both projects and introducing new listeners to his original work alongside the EDM remix that had drawn initial attention.

EPs (2022-2023)

Married to Your Melody (2022) continued his EP-format releases the year, maintaining the vocal-centric electronic approach established in his earlier work. His most recent confirmed project, Pour Some Sugar on Me (2023), arrived the next year, representing his latest release to date. Both EPs demonstrate his continued commitment to the format, combining accessible melodies with club-oriented production values.

Across his catalog, Imanbek has not released a full-length album. His discography consists entirely of singles and EPs, a format choice that aligns with release patterns common in contemporary electronic music. The four-year span of confirmed output demonstrates a consistent pace of production, with releases arriving in clusters rather than a steady monthly stream.

Famous Tracks

Imanbek Zeikenov, the Kazakh DJ and record producer, built his catalog on a foundation of remix culture and high-energy singles. His 2020 output was prolific: I’m Just Feelin’ (Du Du Du), Brother Louie, Blackout, and Hey Baby each showcased his ability to reshape familiar sounds into club-ready formats. These releases relied on sharp edits and bassline-driven momentum rather than extended buildups.

His EP releases reveal a willingness to revisit and rework his own material. Bang arrived in 2021, followed the same year by Bang (acoustic), stripping the original down to demonstrate range beyond standard electronic production. Married to Your Melody came in 2022, and Pour Some Sugar on Me followed in 2023, closing out his confirmed EP catalog with a release that leans into arena-rock interpolation.

Each track sits firmly within the deep house spectrum, favoring clipped vocal samples and tight loop structures. The production style across these releases is consistent: percussive focus, restrained melodic elements, and arrangements designed for DJ sets rather than passive listening.

Live Performances

Imanbek’s transition from a remote Kazakh production setup to international stages accelerated after his 2021 Grammy win. That award for his remix of Saint Jhn’s “Roses” placed him in demand at festivals and clubs across Europe and beyond. His sets typically center on the singles and EP material that defined his 2020-2023 output, with the Bang EP and its acoustic counterpart frequently appearing in setlists in different forms depending on the venue.

Notable Shows

Festival appearances have allowed him to test higher-energy versions of EDM tracks like Blackout and Hey Baby against large crowds. The structure of these live sets mirrors his recorded output: tight, vocal-driven loops with limited downtime between transitions. He rarely extends his tracks into extended jam formats, instead favoring quick mixing and recognizable hooks.

Club shows offer a different context. In smaller venues, the deeper cuts from Married to Your Melody and the acoustic version of Bang surface more often, allowing longer blends and more subtle EQ work. His approach to live performance remains rooted in functional DJing rather than theatrical presentation.

Why They Matter

Imanbek holds a specific and documented place in music history. In 2021, he became the first Grammy recipient from Kazakhstan and the first Grammy winner in a non-classical category from within the CIS. That distinction is factual, not promotional. It marks a geographic and institutional shift in how the Recording Academy recognized electronic music production.

Impact on deep house remix

His remix of Saint Jhn’s “Roses” was the catalyst. The track originated in 2019 and spread through streaming platforms and social media before the Grammy validation cemented its reach. The remix functioned as a gateway: it introduced his production sensibility to a global audience and created the conditions for his subsequent EP and single releases from 2020 through 2023.

His catalog of confirmed releases demonstrates a producer working within commercial electronic music while maintaining a consistent aesthetic. The confirmed EPs, spanning from Bang in 2021 through Pour Some Sugar on Me in 2023, show an artist willing to engage with recognizable source material without abandoning his core production approach. His work matters not because it reinvented deep house, but because it expanded who participates in the genre’s highest levels of recognition.

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