Search:last night

Green Marbled Vinyl

AboutBlank produces here 3 magestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM harfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.

Hold Up ft Kendra Foster is the breakout first single on Lonely C’s (aka Charles Levine of Soul Clap) debut album, Charles & Tribulations. Foster, known as a multitalented force of singer/songwriter who's toured the world for over a decade with Parliament-Funkadelic, won a Grammy for her co-writing on D’Angelo & The Vanguard’s Black Messiah, most recently set forth as a solo act with her 2016 eponymous sophomore album.

This may be Kendra’s first foray into house music, but she’s no stranger to the groove. This is a dance-floor classic in the making, already receiving powerful response from crowds at Soul Clap’s DJ sets.

Lonely C’s original mix features vocal/songwriting super talent Kendra Foster’s cathartic tale of a love gone away. Mike Dunn’s remix is a guaranteed dance floor activity, Javonntte dub for the dancers.

Then last but no means least FSQ’s Funkadelic Touch mix of “True” featuring Billy Bass Nelson, GKoop, O-Man, & Kim Manning”

Upfront DJ Support:

Dixon, Seth Troxler, Gilles Peterson, Moxie, Francois K, Osunlade, Josh Wink, Jovonn, Kraak & Smaak, Tensnake, Horse Meat Disco, Crazy P, Leo Mas, Luke Solomun, Hot Chip, Nightmares on Wax, Honey Soundsystem, Danny Tenaglia, Red Rack’em, Soul Clap.

After surpassing 100k plays on Soundcloud, it became clear
that Ren Riz's disco jam Marmalade deserved an official
release. Accompanying the laid-back, sun-kissed original mix
is the “Late Night” version – a chopped up disco house
reinterpretation with a higher tempo and dance floor appeal.
Jupiter Direct locks the house groove in with its dubby filtering,
rolling bass-line and funky guitar loop. Saving dessert for last -
Pudding is a summery nu-disco tune with a choppy disco
bass-line and Rhodes chords for days. This release is all about
summer sunsets & aperitifs! Ren Riz is a Melbourne based
producer with hip-hop production roots. He began dabbling
with house & electro in the mid 2000s, whilst maintaining
sampling as a backbone to his sound. Along with a string of
remixes and popular re-edits, Riz has released 4 EPs on
various labels, with 2014 seeing him establish his own imprint
Casual Sparks

After last year’s excellent ‘Insula’ album, Proc Fiskal returns to Hyperdub with the six track EP ‘Shleekit Doss’; in his own words, “a kind of representation of the time I was running the club night of the same name in Edinburgh. These tunes represent the night’s ethos of genre-defiance and high-energy futuristic sets, ecstatic and transcendent while still being fun and stupid. I was getting my friends to play and I made all the posters on my phone - like this EP’s artwork. I also started hoarding old FM synths which crop up a lot on the EP, and was reading a lot of sci-fi like Isaac Asimov’s ‘Foundation’, and ‘2001’. The night ran until last November when the bouncers and some punters got in a fight, the club got damaged, and unfortunately I got banned too.”

Through this mayhem and misdemeanour, ‘Shleekit Doss’ feels like an oasis of calm; light, bouncy and melodic, the EP sees Proc developing the depth and range of his music in satisfying ways. The beatless, processed male voice choirs of ‘Satan’ open the set, breaking into glitchy drums before the melodies are time-stretched into a pretty drone and gentle rolling piano. Clouds of bittersweet synths waft across cut-up voices and clattering drums on ‘Smith’s Deli’, while ‘Pico’ is a driving mix of tight, tiny micro-edits that feel like micro-house crossbred with jungle breaks. ‘2 Moros’ takes the Sinogrime developed on ‘Insula’ deeper into dense rhythmic abstraction, and on ‘4 minutes’, charming synth melodies and 8-bit bass lines are threaded through skeletal drum machine kicks and snares. ‘Prop-O-Deed’ finishes the EP, Proc Fiskal displaying his inimitable gift for heart-wrenching anthemic melody, built around tuned Asian percussion and scratchy synth violin.

Welcome to the self titled label launch of David Paglia; a DJ/Producer whom has become a core member of the NYC nightlife community over the last 3 years. A three track EP of House grooves representing the style of his DJ performances. A1 "Woken", a tracky tune with bouncy chords, hypnotic strings and punchy bassline has been thoroughly tested and tearing floors all over NYC. B1 "These Sounds", a sampled based tune of rolling pads and catchy key riff is a tribute to the sounds of early 90's house. B2 "Capacitor", is a step out of the box number with a Moog Acid bassline and Electro-esque snappy drums.

Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music.

Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world.

The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more.

There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online.

Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong.

At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled.

There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.

Moon Boots a.k.a Pete Dougherty returns with his second studio album ‘Bimini Road’ on September 6 via Anjunadeep. An ambitious and evocative follow-up to his acclaimed debut First Landing, Bimini Road combines delectable club-ready grooves with soulful songcraft into a seamlessly organic whole. Inspired by notions of mysterious lost civilizations, ancient magic utopias and the sci-fi landscapes of the mind, ‘Bimini Road’ is a joyously celebratory listen that builds off the ‘deep textures and funky melodies’ (Mixmag) of his album 'First Landing', a disco house masterpiece supported by KCRW, Annie Mac and others. Featuring familiar faces KONA, Black Gatsby and Nic Hanson among the featured vocal talent, ‘Bimini Road’ also includes new collaborators like rising US talent Niia, Kaleena Zanders and notable British sing-songwriter Little Boots. OutJuly 9, ‘Tied Up’ is the first single off the album, a sexy slice of deep house pop sure to ignite dancefloors and bedrooms alike. Moon Bootsembarks on his Live Bimini Road Tour this Fall, with dates across North America and Europe. Born in Brooklyn, Moon Boots’ musical obsession started not long after he could walk. His early love of piano lead to a passion for keyboards and synthesizers. Teenage nights lost in the work of Daft Punk, ATribe Called Quest and Herbie Hancock followed. Inspired by legends like Frankie Knuckles and Derrick Carter, he moved to the house music epicenter of Chicago, where he tirelessly passed out demos to local DJs and scoured the web for like-minded people with whom he could share and expand on his sound. Heplayed in a synth-pop trio whose demo caught the attention of Lupe Fiasco, and after a stint touring alongside the hip-hop icon, Dougherty went back to DJing with a renewed focus. The stars aligned when he had a chance encounter withPerseus, founder of an adventurous label, French Express. A fellow junkie and fan of French House and R&B-infused dance music, Perseus became a friend and mentor, the Splinter to Boots' Donatello. The label eventually disbanded but Boots has stayed true to his mission of making dance tracks that can’t be confined to one style. Pete blends the music he loves --jazz, house, funk and soul -- into songs that last longer than their runtime. Songs not just for DJs, but for everyone.

Ivaylo is next up on his Bogota Records imprint with a pair of fresh new cuts that come complete with a remix from Hugo LX. Bulgarian native Ivaylo is based in Oslo, and has vast experience of the dance music industry, having continuously proving himself as an essential DJ and producer, most recently his release on Cassy's Kwench Records 'Ae Way'.

He delivers again here with Hausa, a deep roaming tune with a bassline that immediately lifts your energy. It makes for a back room track that is super tasteful and filled with warped synths and deft percussion that gets under your skin. Hugo LX serves up a tripe remix with tiny little sonic details, a spooky sense of late night mischief and neon melodies that really standout.

Last of all, House Moult is a busier, more bristling cut with jostling drums and underlapping bass, an inventive sense of musical warmth and plenty of fresh ideas that are finished with an anthemic vocal that will get the crowd on their toes.

This is another standout EP from all concerned, and another great chapter of Bogota Records.

Albert’s Favourites co-founder Adam Scrimshire is set to release his fourth album 'Listeners'. Musically, 'Listeners' draws from Scrimshire's passion for jazz, soul and electronic music of all styles; from an energetic combination of Afrobeat and garage on 'Won't Get Better', to the lushly orchestrated neo-soul of 'Thru You', and the harmonious jazz experimentations of 'I Never'. The album features a host of esteemed guest vocalists and musicians telling their own personal stories, including Georgia Anne Muldrow, Emma-Jean Thackray, Joshua Idehen, Madison McFerrin, Chip Wickham, and James Alexander Bright.

"With this album I wanted to get a more focused sound after six years of relearning and development in the studio. But I also struggled to find my own words, to speak about where I/we are now. So I allowed my collaborators total freedom to tell their own story and as they came back to me, they were telling the same stories I wanted to. It's resulted in some deeply personal confessional pieces: mourning family, collapsing relationships, extremes of self doubt and analysis, trying to balance public and inner persona, and a reminder that life in all forms is important.

It’s called 'Listeners' as I am a listener here, I feel like I've been given these very personal experiences to care for. Listeners because, the travesty of the last few years is that we stopped listening to each other, everyone is shouting at each other and no one is learning. And Listeners because I hope I've made something that is for other people more than I have before. I've tried to craft something warmer and more enjoyable, made for those who give me their time in listening to my music."
- Adam Scrimshire

Since joining the Wah Wah 45s label in 2007, Scrimshire has released three albums of experimental cinematic jazz, and electronic sounds. Following his 2009 debut ‘Along Came The Devil One Night’, his second album ‘The Hollow’ (2011) was a BBC 6 Music Album of the Week, with Gilles Peterson calling it “A late contender for album of the year”.

In the time since the release of his last album ‘Bight’ (“An eclectic range of influences ranging from disco to fusion to more contemporary electronic styles” XLR8R) in 2013, Adam has worked with long-time musical accomplice Dave Koor on new project Modified Man, and launched Albert’s Favourites releasing projects by The Expansions, Hector Plimmer and Jonny Drop. He has continued to gain radio and DJ support for his successful “Scrimshire Edits” series and has produced and mixed records for artist including Stac, Daudi Matsiko, Bastien Keb, Ronin Arkestra, Jonny Drop. He has also continued to develop the Wah Wah 45s label, where he is now a co-owner and director.

Preceded by singles 'Thru You' featuring Georgia Anne Muldrow and 'Life Is Valuable' featuring James Alexander Bright; 'Listeners' is set for release on LP and digital formats via Albert’s Favourites on 19th July 2019.

DJ Support / Press:

Huey Morgan (BBC Radio 6 Music)

Jamie Cullum support on BBC Radio 2

Jamz Supernova on BBC Radio 1Xtra

Thru You Premiered By Mary Anne Hobbs on BBC 6 Music “So Beautiful

Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop
in the Melbourne countryside.
Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop in the
Melbourne countryside. 'Healesville' follows on from the bucolic wonder of
their Apollo debut 'Tidal River' which took inspiration from the duo's visit to
the beautiful Wilson's Promontory (a remote national park on the South
East coast of Australia). "Late last year, we trekked out to a beautiful mudbrick studio located next to a large strawberry crop in Healesville," Albrecht
explains. "We spent a few days capturing the feeling of the slow-paced,
relaxed surrounds: The wildlife, the strawberry pickers, the sounds of the
night, and improvising a response to them with music we felt suited."
Setting up their favoured musical equipment, which included two pianos, a
Waldorf, a Nord and a clutch of microphones the long-form improvisations
began. "The physical construct of the hut imparted a warm and acoustically
interesting environment to record in," Alex explains. "It also allowed us to be
as close to the strawberry crop itself - we positioned a mic out the window
to capture the recordings of the sound outside. During one of the sessions,
a harvest was taking place, and you can hear tractors passing and workers
talking and laughing in the recording. The resulting drowsy pieces were
completely improvised (augmented by percussionist Joseph Batrouney,
guitarist Carla Oliver (Badskin) and guitarist Oliver Patterson), freeform
recordings that explores themes of relaxation, sleep and dreams;
somnambulant piano figures are caressed with delicate guitar passages
bathed in the bucolic field recordings of the Healesville environs. Recording
the album proved to be as relaxing and civilised a process as listening to it:
"We cooked nice dinners, enjoyed good wines, and took plenty of walks
through the landscape to break up the sessions," Alex shares. The resulting
record is one of quietly sozzled majesty - a delicate fusion of ambient
electronic textures, live instrumentation and field recordings that beguiles
and soothes the listener in these troubled times. — Recorded live at Earth
Mud Straw in Healesville by Alex Albrecht and Sean La'Brooy. Guitar by
Oliver Paterson and Carla Oliver (Badskin), Percussion/FXs by Joseph
Batrouney. Mastered by Corey Kikos. Thanks to Sabbine, Boomtown wines
and the strawberry pickers in Healesville.

The 2 songs are remixed by south London-based artist Klein (Hyperdub), and Tokyo-based
experimental hiphop musician Killer Bong (Black Smoker Records)
Mastered by Bunsho Nishikawa, who is known for his works with goat and Tenniscoats,
among others.

The ominous clockwork nursery song “Kazega Fuitara Sayonara” (Goodbye When The
Wind Blows) was originally written by Koichi Yamanoha and released under the name of
Grimm Grimm via Kevin Shields (My Bloody Valentine) and Charlotte Marionneau (Le
Volume Courbe)’s Pickpocket Records / Honest Jons in 2014.
London-based Tokyo-born singer-songwriter experimentalist Koichi Yamanoha has been
operating under the guise of Grimm Grimm since 2013. The project is an outlet for his
fragile, haunted, otherworldly forays into baroque folk, futurist lyricism and electroacoustic
oddities. His debut album, “Hazy Eyes Maybe”, was released by ATP Recordings in 2015. A
track “Last Word Is Mine” from the album was used over the end credits for the Aaron
Brookner / Jim Jarmusch directed documentary film “Uncle Howard” (2016), featuring
William Burroughs. His sophomore album, “Cliffhanger” was released in June 2018.
And currently the 3rd album has been mixed and co-produced by Marta Salogni.

The virtual 3D music video for Klein remix has been directed and edited by London based
film maker Kenichi Iwasa. He filmed the footage in Tottenham using Super 8, 3rd
generation iPhone and 4K Camera, and created the zero zone virtual world with glitchy SFX
work by William Cunningham. Iwasa is also known for his legendary Krautrock Karaoke
night as well as being a sought after collaborator throughout Europe.

Canadian John Varuhin serves up the second tasteful EP on Clyde Records , a sublime minimal techno affair across 4 standout tracks.

This Vancouver artist is a techno DJ and producer who has also played a purely digital live set in the past. He has a clean, crisp style that comes back from the future and is rich in hi fidelity details that make it truly cinematic.

Opener ‘ Bunker ’ is a spacious track with gooey kick drums rolling deep as slithers of synth and tiny metallic sounds glint and glisten up top. It’s perfectly transcendental, while the excellent ‘ Retribution ’ picks up the pace with a sense of silky techno urgency. The unsettl ing sound of distant automation and darkened synths recall the best of Motor City techno and ensure this one will have the floor locked in.

The expertly designed ‘ Rainy Day ’ is pure minimalism, with icy hi hats and scuttling little details sure to find favour with fans of Robert Hood. Hugely atmospheric and absorbing, it’s the sort of deep and late night track that’s designed for intimate club rooms. Last of all, ‘ Detached Screen ’ is another deep, rolling, perfectly elongated groove design to melt your mind and trap you in the beautiful repetition.

This is a classy and timeless EP of meticulously crafted minimal techno.

Second release by Onrijn Records with cosmonaut heroes Staatseinde. Who treats us with their dystopian electro and synthwave drenched into dark distorted sounds.

Climb aboard their spaceship while “Ruimte Issues” starts with the countdown. Travel through all kinds of different space/time dimensions with “Panspermia” Finally you’ll land your spaceship in “The City”, a perfect track for all kind of humanoids in an intergalactic night club, ready to riot!

Turn the record over and our interstellar adventure continues with a classic fast electro track “Gut Gemacht” with a modern 2019 HAL’s offspring vocoder. “Blaue Augen” will give you that haunting artificial intelligence EBM / Wave vibe. The last track on the record “Glauben” is the perfect conclusion of this futuristic space adventure called DREIHEIT.

This summer, Soundway Records will release a double vinyl compilation
from South African-raised, UK-based DJ and producer, Esa
Williams.Titled Esa Presents Amandla: Music To The People, the
compilation spans electronic music from around the globe, which feature
heavily in Esa's DJ sets and hold a special place in his record bag -
including exclusive versions and hard-to-find tracks from the last two
decades.Esa Presents Amandla will be preceded by a promotional teaser
12" out 31 May, featuring Penny Penny's 2001 impossibly rare Kwaito
House monster "Shilungu".A hypnotic, percussive, groove-driven
anthem, it features chanting in Tsonga, celebrating South African icon
Penny Penny's Shangaani roots.
On the flip is the acid-soaked "Shilungu (Esa & Mervin Granger '99 Mix)",
re-interpreting the track with key elements from the original which are
extended into a late night, Chicago House influenced chugger.Esa
Williams is an ambassador for the South African music scene within the
crowded landscape of the European nightlife - balancing a hectic DJ
schedule, a monthly radio show on Worldwide FM and various live
projects. He is currently in the midst of a long-term DJ residency at
Phonox London, where he embarks on a weekly musical expedition.

Super soulful new PPU from Maryn Coote.

Early June 2019 Frankfurt am Main based label MMODEMM unleashes DRUMS – the first of a series of vinyl compilations in the spirit of signature sounds, stating a tribute to sound-libraries – a deconstruction of your favorite preset sound-groups.
DRUMS will be followed by sound-themed releases FLUTES, VOICES and SLAPBASS within the next months.

DRUMS features a proggy composition by Eva Geist (Macadam Mambo), a raving clave inferno with odd, pitched chants by Cienfuegos (L.I.E.S.), a dance-floor drum-solo straight from Ireland by Lumigraph (Opal Tapes, Mr. Saturday Night) and last but not least – a drunk masterclass drum-lesson by Peder Mannerfelt (Avian, Berlin Atonal Rec), taking house apart with his “Dumb Drums“.

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

After introducing the world to the elusive named Gitkin last year with the release of his debut album "5 Star Motel", Wonderwheel Recordings is back with another special 7" of two deeply funky, lo-fi globally influenced cuts from the travellin' man himself. "Saint Claude Dash" with it's 70's disco influenced drum machine undertone brings in Middle Eastern & North African vibes on the melody, while shifting into an even funkier B section reminiscent of the Meters. On the flip side, "Chicha Nola" finds Gitkin vibing on the mysteriousness of late night New Orleans (where his studio is now located) playing the South American instrument Charango & juxtaposing the NOLA bump with a just enough twang. Just a taste of the brand new album to come this year…or when the spirits will it.

I grew up fascinated with the music played late at night on the radio.
As a kid, when times were tough and I couldn't get myself to sleep, I would tune the radio to my favourite FM station and dream on.
This was back in the late 80's and lasted until the mid 90's, a time when I was getting hooked by Hall & Oates, Loose Ends, Maze, S.O.S. Band, Soul II Soul, and other artists that used to rule the dial in the wee hours.
So this music didn't only comfort and nurture me at the time, it also shaped my music personality.

When Renata approached me in order to work on the first ever compilation for Hello Sailor, I knew the selection would end up reflecting this side of me. It had to come from the heart.
It also had to bring to the table something different than what's already associated with Brazilian music, and exploring our own take on the street soul genre sounded good.
It was never done before and it's also faithful to Brazil's musical heritage.

Back in the 80's and into the 90's, it was very common at parties to have a slow dance moment in between the more uptempo sections. A timeout from all the frantic dancing, when people could cool off and flirt in a more romantic way. (It does sound like a great idea to have this intimate just-the-two-of-us moment in the middle of a party; maybe it explains the number of marriages at that time.)
This is a tradition that goes back to the black music balls in the late 70's, which helps to explain why the majority of the early rap acts from Brazil used to have a couple of romantic songs in their albums. When you add to this recipe the power of the mellow pop acts during the aforementioned period, one can realise why it extended its tentacles to deeper depths of pop music in Brazil.

This compilation features some of my favourite music ever, songs that I've crossed paths with in different moments of my life.
Fernanda Abreu, for instance, is a longtime crush - I have been in love with her music since the mid 80's when she used to sing in a band called Blitz, which my mom loved.
Afrodite Se Quiser, on the other hand, created some buzz while the group was active with the minor hit "O Que Que Ela Tem Que Eu Nao Tenho", from their first album (1987), but I didn't know about "Fora de Mim" until 2015. My point is: even if it took me 25 years to find this track, I had a reserved spot in my brain for it and it laid there perfectly as if it innately belonged there.
It's a built memory, and I love playing with this idea when presenting music to people.

Street Soul Brasil is part mellow pop, part R&B, part rap.
One can surely feel a lot of street energy from the B Side. The music reflects the influence of international pop at the time, but it also shows how Brazilians are talented in making any sound their own!

This compilation is supposed to be a mixed collection of songs, something that might trigger the feeling of flipping through an old photo book full of tender memories. These are songs that should speak straight to the heart, music to comfort and heal, music that deals with joy and pain, feelings that I always liked being transmitted through music.
It's among the best forms of therapy. It worked for me and I hope it works for you...

When Peggy Gou released her debut EP ‘Art of War’ in 2016, she made a list of career goals. One of them was to become the first South Korean DJ to play Berlin’s techno institution Berghain, an objective she achieved only a few months later. Another item on that list was to record an instalment of !K7’s DJ-Kicks series. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” Now Peggy Gou can tick that off her list too as she proudly presents the 69th edition of the mix series.
The Berliner-by-choice started working on the mix last year. It was a
busy time for the 28-year-old: she’d just scored her first Mixmag cover
and her single ‘It Makes You Forget (Itgehane)’ was receiving awards
and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey. An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983