Late Night Clubbing Tales Vol. I

Released on April 4, 2025, this 8 track, 45 minute long album is my take on underground House music, heavily inspired by artists such as Kerri Chandler, Moodymann, Terrence Parker, DJ Koze, Folamour and Todd Edwards.
The record was produced entirely by me and specifically with club listening in mind. It is strongly sample-based, drawing material from many different sources and combining it with programmed drums, basslines, piano, synths, guitars and chopped vocals. Although all eight tracks clearly belong to the same House universe, I wanted each one to have its own identity rather than simply repeat the same formula.

The first half of the album is generally brighter and more playful. "My Lonely Life" (inspired by Moodymann's "Don't You Want My Love" and Folamour's "Petite Prince Du Macadam") combines a relaxed groove with a funky guitar riff and soft supporting vocals, while "Ode To Dancers" is a more energetic celebration of club culture built around prominent drums, repetitive funk guitar and disco-inspired vocals.
"Fuel" takes a more straightforward House approach, led by an uplifting piano riff inspired by Bellaire's style, while "It’s Not House, It’s Home" pushes the tempo higher with its percussion, funky clavinet-style sounds and frequent arrangement changes designed to keep the listener slightly off balance.

The second half introduces a darker and more restrained atmosphere. "Keep On" relies much more heavily on bass, looping disco vocals and gradual development, using filtering and arrangement changes to create its drops rather than conventional build ups. "Fill Me With Your Heart", on the other hand is way cleaner and more minimal, closer to the precise drum machine sound associated with Todd Edwards and Omar S, with piano and a recurring vocal hook at its centre.
"Baby, Not This Time", the longest track on the album, is a driving disco house piece and also the oldest composition on the record, originally started in December 2023.
The album closes with "Missing You", its shortest and fastest track at 160 BPM, moving away from traditional House into a darker, more frantic club sound filled with disco vocal samples and rapid variations.

More than anything, this album was an exercise in groove, sampling and club-oriented arrangement: keeping repetition hypnotic without allowing it to become predictable.