• The best of Crate Diggers 2017

    By | December 25, 2017

    Inside the record collections of our favourite DJs, producers and musicians.

    For those of you who are new to this, Crate Diggers is our monthly series taking you inside the record rooms of some of our favourite artists.

    Using their records as a starting point, these in-depth interviews hope to tell a more intimate story of their lives in music, from childhood experiences to formative records and recent discoveries.

    From New York, London and Berlin to rural Austria and Norway, we spent the year tracking down these global collections and sharing a little of the magic held within.

    Scroll down to re-cap or discover interviews you may have missed over the course of the year.

    Mats Gustafsson

    Self-taught free jazz heavyweight and self-confessed Discaholic Mats Gustafsson has one of the most fabled record collections in Europe.

    From his ‘vinyl cave’ in rural Austria, the saxophonist runs a global trade ring through his Discaholic website, trading four-digit rarities with the likes of Thurston Moore and Sunn O)))’s Stephen O’Malley.

    And when he can’t find someone to trade with, Gustafsson has been know to travel across the continent to play solo concerts in exchange for rare records.

    Buying free jazz since he was 12, Gustafsson was schooled in punk and retains a DIY attitude to this day. A saxophonist known for his ferocious style, he’s one of the most important free improvisors of his generation, playing with the likes of Barry Guy, Evan Parker, Jim O’Rourke and Sonic Youth or fronting his own projects like The Thing, whose 2012 collaboration with Neneh Cherry spanned an extraordinary wealth of influence.

    For this first Crate Diggers of 2017, Gustafsson gave us rare access to his custom-built two-and-a-half tonne vinyl cave.

    Read it here.

    Sofie Fatouretchi

    Born in Palo Alto, California, Sofie was raised on Iranian cassettes, classical records and The Electric Light Orchestra. She moved around the States a lot in her childhood years before relocating to Vienna to study at a music conservatory in her teens.

    After cold mailing Peanut Butter Wolf, she landed an internship at Stones Throw and quickly became one of family. She’s also a Boiler Room original, a relationship which kicked off with their first West Coast broadcast which lined up Dam-Funk, J Rocc, Wolf and Sofie herself.

    Sofie’s record collection is concise and personal, with sections for gifts and releases from friends, as well as shelves for classics, 12″s, soundtracks and Eastern European pysch. Sitting in her newly configured apartment, she spoke to us about her new Stones Throw compilation, record stores in Vienna and digging for Cyrillic vinyl with Primo.

    Read it here.


    Following his debut album Flatland on PAN, TJ Hertz aka Objekt dropped ‘Objekt #4’ earlier this year, the latest in his club-focused white-label series that kicked off back in 2011, and one of our favourite 12″s of this year.

    The record is a tribute to the now-shuttered Basement Q, a beloved haunt in Berlin’s Schöneberg ‘hood “which quietly but profoundly shaped the musical identities of Hertz and several of his contemporaries.”

    You don’t have to spend long in Hertz’s record collection to see how committed he is to the art of DJing. One of the most functional, working collections we’ve experienced, it’s pure-fire house, techno and electro here, all united by a sense of “rhythmic propulsion.”

    Yes, you might find a smidgen of African folk or the odd blues compilation but for Hertz, it’s not about owning prized objects but rather, symbiosis of sounds.

    From his Autechre worship phase to the digi-dub 7″ he bought the day before our interiew, Objekt unlocked his record collection for VF Crate Diggers.

    Read it here.


    “Because Africa is mother of beat, and beat is tempo. May your hearts beat on our tempo and steps groove with our flow. On an acid trip around Afro rhythms, travelling from Nigeria, Ethiopia, Congo to Ghana, cruising on electronic sounds, cosmic rhythmics and psychedelic vibrations.” If those words doesn’t pique your interest, then African Acid probably is not for you.

    Casually set up a few years ago by Maryama Luccioni aka Maryisonacid in a smokey Neukölln bar, the night has since racked up a dedicated following in a city dominated by techno. The music policy is broad, running from deep Ethio-jazz and Congolese wedding anthems to synthesizer pop, ska, reggae, rocksteady and more.

    Surrounded by plants and flowers, we sat down with Maryama ahead of her set at The Vinyl Factory’s British Pavilion launch party at the Venice Biennale earlier this year, to talk Hailu Mergia, reissue culture, and digging amongst the dead in Corsica.

    Read it here.

    Joe Goddard

    When Joe Goddard takes the stage at Prince Charles, an intimate dance venue in Berlin’s Kreuzberg neighbourhood, he seems almost sheepish, crouching behind his keyboard on the side of the stage. It’s the same position he assumes when performing with Hot Chip, his band of 15 years, but on those occasions he’s surrounded by his four bandmates, his mellowness contrasting with the dance party encircling him.

    Tonight though, it’s just Joe, and it’s almost crazy to think that this soft-spoken man is responsible for some of the most indelible dance-pop of the last decade—but when he begins to play, and the crowd begins to sway with the beat, everything falls into place and within minutes, the whole dancefloor is a writhing, sweaty mess. Like any good dance musician, Joe hold his audience in the palm of his hand from the get-go, which is even more of an accomplishment here since he’s exclusively playing songs from his new solo record, the sharp and effervescent Electric Lines.

    While Hot Chip are a band that have always been the sum of their parts, Electric Lines lays bare Joe’s immense contribution to the band’s success—as their principle composer, the album is a deeper exploration of the kind of disco, house, electro and pop tracks that are such a huge influence on Hot Chip’s sound. Tracks like the genre-pushing lead single ‘Home’ which marries a massively joyous ’70s funk sample from the Detroit band Brainstorm with a throwback to the days of the Paradise Garage, are a testament both to Joe’s encyclopaedic knowledge of dance music, and his ability to never let his finger off the pulse.

    A few weeks after the Berlin show, we caught up with Joe in his London home, where he took us through his notoriously gigantic and jumbled home record collection. He touched upon everything from classic disco, to Japanese indie rock, to the enduring legacy of ‘Straight Up’ by Paula Abdul.

    Read it here.

    Leo Mas

    If you were lucky enough to be at Amnesia in Ibiza in the late ’80s, chances are you limbered up to the sound of Leo Mas. Between ’85 and ’88, he and Alfredo set the agenda for the Balearic sound, with Mas’ expansive warm-up sets the blueprint for the genre-defying selector culture now blossoming in the post-Discogs world.

    Something of a musical polymath, Mas owns a record room that is a meticulous chronicle of his life as a voracious collector, spanning a huge range of eras and scenes, from avant-garde jazz to contemporary house and techno. As radical with his politics as he is with his records, it’s nothing less than you’d expect from someone’s whose first 7″ was the soundtrack to an Italian ’70s erotic fantasy film.

    On the eve of his headline performance at The Vinyl Factory’s Stromboli disco as part of this year’s Volcano Extravaganza festival, we visited Leo Mas in Milan to get the inside track on a record collection that truly changed the game for DJs around the world.

    Read it here.


    It’s summer in Berlin, which means it’s pouring with rain. As Steffi offers us shelter from the elements, welcoming us into her spacious flat on the top floor of an altbau in Kreuzberg, a steady afternoon storm beats against the windows. The effect makes her record room seem cozy, a true sanctuary, with neat shelves of records piled almost to the ceiling.

    At a first glance, it looks heavily curated, expertly pruned, the rock-solid collection of someone who has poured years and years into their passion for music. “For the first time in my life, I recently sold some stuff, which was really difficult,” explains the Dutch-born, Berlin-based DJ, as she gives us a detailed tour, section by section, genre by genre. “There are things that were either too damaged, or I’m ready to let go of it, which took 20 years.” She laughs and sighs at the same time.

    Steffi is one of Berlin’s most well-known DJs, with her monthly residency at Panorama Bar now all but an institution unto itself. Earlier this year, she put out an already super-acclaimed Fabric mix, and in September, she released her third studio album, World of the Waking State, a subdued, sophisticated and hypnotic collection that melds together the most compelling aspects of her career to date.

    With so much going on, it’s easy to imagine record collecting taking a back seat to all of her other endeavours, but a few inconspicuous piles of vinyl on the floor suggest that for Steffi, her collection is always a work in progress.

    We sat down to discuss her beginnings in the south of Holland, her favourite records shops, and how she stays fresh and engaged in the international DJ scene after over 20 years in the game.

    Read it here.


    “I love when people play Pharoah Sanders in clubs.” It’s this impulse that brought Mafalda to London three years ago. Drawn to a city where DJs play jazz on the dancefloor, Mafalda has quickly made tracks as a joyful selector of spiritual grooves, straying gleefully across genres as a regular on NTS, Worldwide and festivals like Dimensions, where she’ll appear next month.

    As Floating Points’ partner in crime she co-runs reissue label Melodies International, and has overseen the release of now iconic records by Aged In Harmony and Open Soul, originals of which you’d be more than likely to find at Cosmos, the London arm of the first pressings record shop where Mafalda also works.

    Inviting us to the attic room of a small North London apartment, Mafalda begins by putting on her latest acquisition, Pharoah Sanders’ Love In Us All, a smile flashing across her face: “Pharoah Sanders is very special, I love all the records I have of his.”

    Read it here.

    Eamon Harkin

    From watching his mother enjoy the festive show bands in Northern Ireland to seeing Gilles Peterson command a whole scene in London, Eamon Harkin’s journey to Mister Saturday Night has been informed by music’s ability to shape community.

    With an open ear to music from across the spectrum, he and partner in crime Justin Carter have put this into practice, turning their party from local hang-out into a worldwide institution. Notching 250 parties in just eight years and marking the occasion with a fantastic compilation on its own label), Mister Saturday Night and brother-in-dance Mister Sunday are now on the verge of becoming part of the New York City furniture.

    Such was the sense of bond between dancers and DJs that the pair raised over $100,000 on Kickstarter to help build their venue Nowadays into a permanent space, complete with two state-of-the-art sound systems: one for dancing and one for listening.

    It’s an approach which is reflected in the organisation of Harkin’s 10,000-strong collection. When we spoke to him, he’d just received another big delivery, some of which were destined for the wall of house, techno and disco in the upstairs studio, the rest downstairs in the living room, where jazz, soul and ambient flank a valve amp and high quality speakers.

    More of a toe-dipper than a deep digger, Harkin’s collection is the physical manifestation of the Mister Saturday Night ethos, where good music rules over rarity every time.

    Read it here.


    Growing up in a small coastal town on the outskirts of one of Europe’s main oil spots, Hans-Peter Lindstrøm’s initial forays into music may sound familiar to those who grew up far from the bright city lights. Church-oriented gatherings with neighbours and friends, choirs, organ music, Christian rock, and ’80s pop dominated, while pirate radio played from the surrounding rural islands. These were the unlikely origins that laid the foundation for a steep ascent to one of the leading lights of contemporary disco.

    From the discovery, and recovery, of a bedraggled Boney M cassette on a remote Norwegian road, to crate digging excursions across Europe and Asia, Norwegian producer Lindstrøm’s record haul is as varied and far reaching as his own productions.

    With his fifth solo album, It’s Alright Between Us As It Is, released this autumn on Smalltown Supersound, we visited Lindstrøm’s cosy studio in downtown Oslo to hear the stories behind that stunning wall of records.

    Read it here.

    Justin Strauss

    A true NYC legend and resident DJ at the city’s most iconic clubs in the ’80s, Justin Strauss shared first-hand stories from the oft-mythologised scene that he shared with the likes of Jean-Michel Basquiat, Keith Haring, Larry Levan and many more.

    It was a world where art, music and club culture grew hand-in-hand – where Keith Haring would dance to Larry Levan at Paradise Garage, where Thurston Moore rubbed shoulders with Jean-Michel Basquiat and Andy Warhol at Mudd Club.

    Resident DJ everywhere from Area to the Ritz, Tunnel to Mudd Cub, Justin Strauss lived through it all, channeling this no holds barred approach to creativity through his eclectic DJ sets. Launching a career that has seen him release a cult album on Island when he was just a teenager, notch hundreds of remixes, and amass one of the finest record collections in New York, Justin’s Mudd Club was the physical and spiritual centre of the city’s downtown underground.

    With Jean-Michel Basquiat’s headline show Boom For Real one of London’s headline exhibitions this autumn, we visited him in his NYC home to hear a first hand account of daily life in the rundown, beat-up, beautiful, creative and liberated melange of early ’80s New York City.

    Read it here.

    Nabihah Iqbal

    Nabihah Iqbal is the artist formerly known as Throwing Shade, and although she has recorded all the parts on her debut album herself, and holds Prince in high esteem, the comparisons with the Purple One end there.

    For many, the entry point for Iqbal’s music has been the regular NTS show she hosts, drawing on her training as an ethnomusicologist to share sonic journeys to countries around the world, based around rare recordings taken from her university’s vast sound archive. Whether it’s North Indian ragas or Arabic makams, rare afro-funk or Japanese ambient modes, her record collection reflects those journeys.

    But Iqbal is no exclusivist, and her love for music from around the world stems first and foremost from her own curiosity to learn and impart that knowledge. “You might think you’re only into a certain type of music,” she says, “but if you let your mind wander, then you can gain so much more from it.”

    It’s a more intuitive approach that has influenced Iqbal in recording her debut album Weighing of the Heart, which was released on Ninja Tune in December. A sum of her own musical loves, from ska and post-punk, grunge and ’80s pop to the trinity of Hendrix, Prince and Michael Jackson, Iqbal allowed these to coalesce unconsciously, and was almost surprised to hear how the record ended up sounding.

    Read it here.

  • Yo! Selector with Mafalda

    By | November 17, 2017

    Soulful sunshine sounds from inside the Melodies International DJ bag.

    Yo! Selector take you into the deepest corners of your favourite DJ’s record bag.

    From the weirdest bargain bin finds, to the juciest slow jams, rarest samples and stone-cold floor-emptiers, every DJ has his or her own individual approach to building a set. It’s these records that we’re setting out to discover and share with you.

    After kicking things of with Moses Boyd, we’re back in Croatia courtesy of Dimensions Festival to get a peak into the record bag of soulful Portuguese selector Mafalda.

    Co-running rare soul and disco reissue label Melodies International with Floating Points and working behind the counter as Cosmos Records, Mafalda has quickly built up a reputation for bringing genre-bending spiritual groove to the dancefloor, where she’ll happily drop Pharoah Sanders and Minnie Riperton in the same breathe.

    Watch her Yo! Selector above, check out our in depth interview for Crate Diggers earlier this year and make sure you cop Melodies International’s latest release, the gospel-tinged Chicago soul of Gloria Jay.

  • Melodies International to reissue Gloria Jay’s gospel-tinged Chicago soul on 7″

    By | November 13, 2017

    “There’s nothing getting in the way of the feeling, it’s straight from the heart.”

    Mafalda and Floating Points’ Melodies International will reissue Gloria Jay’s ‘Know What You Want’ on 7″ vinyl this December.

    Crate Diggers: Mafalda

    The latest in the label’s all-killer-no-filler liner of rare jazz, funk and soul reissues, ‘Know What You Want’ captures the raw talent of Gloria J. Jennings, who was catapulted into the recording studio aged just sixteen to stand in for the track’s absent singer and song-writer Theresa Eagins.

    Channeling the gospel inflections and spiritual ease honed in the choir of her father’s Southern Baptist Church, ‘Know What You Want’ has enchanted and evaded a generation of DJs and soul fans with, in Patrick Forge’s words, its “pure and unadulterated soul”. Like the original 7″, ‘Know What You Want’ is backed by the playful ‘I’m Gonna Make It’.

    Reissued on 7″ vinyl via Melodies International and available from 8th December, you can pre-order your copy here.

    It follows the release of Maurice Moore’s ‘Everything That Shines Ain’t Gold’ and Y. Gershovsky’s ‘Disco Baby’ on the label earlier this year.

  • Crate Diggers: Mafalda

    By | August 9, 2017

    “I love when people play Pharoah Sanders in clubs.”

    It’s this impulse that brought Mafalda to London three years ago. Drawn to a city where DJs play jazz on the dancefloor, Mafalda has quickly made tracks as a joyful selector of spiritual grooves, straying gleefully across genres as a regular on NTS, Worldwide and festivals like Dimensions, where she’ll appear next month.

    As Floating Points’ partner in crime she co-runs reissue label Melodies International, and has overseen the release of now iconic records by Aged In Harmony and Open Soul, originals of which you’d be more than likely to find at Cosmos, the London arm of the first pressings record shop where Mafalda also works.

    Inviting us to the attic room of a small North London apartment, Mafalda begins by putting on her latest acquisition, Pharoah Sanders’ Love In Us All, a smile flashing across her face: “Pharoah Sanders is very special, I love all the records I have of his.”

    Since we’ve got a Pharoah Sanders soundtrack going on, could you tell us a little bit about this specific record?

    There’s a funny story behind this one – Sam [Shepherd aka Floating Points] bought it for me in Amoeba in Los Angeles six months ago. He was doing that ‘What’s In My Bag?’ film, and said “this is for my friend Mafalda” and he sent me the link. But he lost it and never actually gave me the record!

    Then it was his birthday the other day and I was helping him organise his records because he had just put up new shelves and I found this one and he was like, ‘That’s yours, that’s the one for you’. He had lost it in the middle of his zillions of records.

    Pharoah Sanders is very special, I love all the records I have of his, but some are more difficult. They have this agitation, they can shake you and sometimes you need a record like that. Also, I love when people play Pharoah Sanders in clubs. It doesn’t happen often but when it does I think it’s quite special.

    Can you dance to it?

    I mean, I can, but that’s what I do, I’m always dancing. If the music is good I’ll dance to whatever it is. I totally dance to Pharoah Sanders, and it’s amazing when more people do it – when it’s not just me.

    A long time ago, I was at Brilliant Corners and Sam played ‘You’ve Got To Have Freedom’ and it was insane, everyone was dancing. It’s from Journey To The One, which is another special one.

    What was your journey to Pharoah Sanders and spiritual jazz?

    I don’t really know. In Portugal I didn’t listen to much jazz. My father had some Egberto Gismonti records, which I brought here.

    But I came to London because of that, and I didn’t know why. Three years ago I came here to visit my mum, who lives in Epping, and Sam [Floating Points] and Sadar Bahar were playing at Corsica Studios and I was there having the time of my life, listening to all the music I love. And at some point Sadah Bahar dropped a jazz tune at 4am and everyone was dancing, everyone was grooving. And that moment was very powerful. That’s when I decided to move here, because I felt fascinated with people dancing to jazz in clubs.

    But you came here without much of a plan?

    I had quite a nice job in Portugal, I was a fashion designer, and when I got back from my London holidays, it took me two weeks to decide to quit.

    We can come back to this, but let’s go back a little bit first – What was the first record you ever bought?

    I was about 13, my father was living in Lisbon but I was still living in Porto with my mother. I would go to visit him and there was a big hip-hop shop, so my first record was a hip-hop record. I’m a big hip-hop fan and that’s really how it started with music and records. I had a hip-hop band when I was a kid…

    Did you rap?

    Yes, I used to rap (laughs), when I was very young, you know 14 or 15. I had these two friends at school and they were studying science and I was studying arts, so we had this really cool vocabulary we used for lyrics and our older friends made beats for us. I was no good but everyone supported us because we were so young, and they wanted us to keep on doing it. Every time I’m clearing up though I still find papers with lyrics that I wrote and it’s funny…

    Rapping aside, you arrived in London less than three years ago without a network of people, but here you are embedded in the music scene. What happened?

    I came here and I didn’t have friends, but I was staying with someone I knew for about a month just next to Plastic People. And even though I was on my own I would go on by myself to Plastic People a lot – almost every weekend – because I just couldn’t stay at home knowing such good music was being played there. I basically ended up making lots of friends through Plastics. Most of my friends in this country are music people.

    Is that how you met Sam [Floating Points]?

    Yeah, I think he knew who I was after a while at Plastic People because I was always in the front row singing and dancing the whole time. One day he was on NTS and he said he was going to start Melodies International. I emailed him saying “Hey Sam, it’s me, the girl who is always in front of you screaming and dancing. I heard about Melodies so if you need any help let me know.” And he was like “Yeah there’s this magazine, if you want to do that?” I’d never done a magazine before but I was sure I could figure it out. I was obviously very, very happy. I did the first magazine and we stayed friends, because we have the same musical taste.

    He was doing his album at the time and I knew Aged In Harmony was going to be released next, but nothing was happening. By this time I was pretty good friends with Sam and was just like “Do you need help?” I had worked with production before when I was a fashion designer, but this was still something completely different, it was records. So he gave me all the contacts and I learned how to do it.

    What binds the label together? Is there an ethos beyond your combined tastes?

    I think the thing that sparked it was the You’re A Melody parties, where they would play really beautiful, rare records. And those recordings of the first parties were shared thousands of time, and these tracks became famous and wanted in their own right. So we thought we could have some say in it.

    The party is the root of the label, but now as time goes by, we are all growing and discovering new stuff. And actually Mel08 and Mel09 are not going to be disco bangers they’re going to be really mellow soul tracks that are very beautiful. People can play them at parties, and I hope they do, but they’re not party tunes. It’s mostly music we love very much.

    And your own collection, have most of the records here been accumulated over the last three years?

    Yes, so this is my London collection. These are the records I got since I moved here. I don’t care about the quantity, I just care about the quality. All of these records were hand-picked carefully and I only have records I absolutely love.

    So they’re all special?

    Yeah, they’re all special, but I have some new ones. I’m fortunate enough that people think my music is Sunday music, so they invite me to play on Sundays and this Blossom Dearie record has a tune called ‘Sunday Afternoon’. I love partying but I really like mellow, chilled out music too.

    You said that your collection isn’t very organised, would you like it to be?

    Yes, I love organising stuff. I’m a Virgo! I’m not a freak, but I like things to be organised!

    You divide by genres?

    Yeah, by genres and then just mixed stuff, from gigs and recent buys, stuff I’m listening to at the moment. I have a big mix. Hip-hop, gospel, disco, soul, electronic music, lots of Brazilian, lots of Latin jazz, funky jazz, spiritual jazz, straight jazz, soul jazz (laughs). I like everything, even rock! I don’t collect one genre or one label or one artist. If I see a record I love and I can afford it, I’ll buy it. I like that my collection is so diverse because every day is different.

    How about first pressings vs. reissues?

    I work for a reissue label but I also work in a first pressings record shop, so I am really torn.

    Of course, if I can afford the first pressing and I find it in a shop, I’m going to get it. But some records are just very expensive and as much as I care about them, I also care about eating, and my landlord cares about me paying my rent. I can’t be too picky. I would love to get all the first pressings of these records and lots of them are. If I can’t I will stick to the reissue.

    What’s the most expensive record you’ve ever bought? Not that price has anything to do with it…

    Unfortunately really good records are rarely cheap. And that’s why reissues are great, especially when they’re done properly. With bootlegs and unofficial releases, if there is no love, I don’t see the point.

    This one, Shirley Nanette’s Never Coming Back, is a very special record. I think I got my job as Cosmos because of this record. I asked them for it and I think they were impressed. It’s the original, so it’s not a cheap record. But I love it so much that I had to have the first pressing. And it’s not £1,000…

    So what counts as an expensive record for you?

    Anything above £50 is expensive. And maybe some people think £40 is expensive but if it’s an amazing record, it’s cheap! Just get it! And that’s the problem with good music, it rarely gets cheaper. Working in a record shop for almost two years I have seen some records increase in price.

    In fact, I was in Zurich recently and I played Belair’s LP Relax You’re Soaking In It and someone came up and was like “Do you know how much this costs?! And you play it!?” And I was like “That’s why I bought it! I’m not working in a museum.”

    And this Lou Bond, I found it on a market for £20, which is pretty cheap. But, I have to admit that I scratched it…

    My favourite is track is ‘Come on Snob’, and all the good stuff is on that side, so I didn’t ruin any crucial tracks, but still it really hurt. With this one I learned a lesson – don’t bring your drunk friends home and play records! Actually that’s not good advice, bring people and play records but keep the chairs away from them.

    You mentioned before we started recording that you thought records were quite a feminine thing…

    I don’t know why, I think they’re just so beautiful and I think that women care more about beautiful things than men do… (Laughs) I think that, as a woman, for me this is very natural. I feel like I’m in my natural habitat when I’m here. If I’m having a tough day and I get home, I look at this shelf and I think it’s beautiful. Music really makes me happy and I know lots of girls who collect records, so it’s not just me obviously!

    Would you call yourself a collector?

    Yes, well I collect records, but I’m not too precious. I’m not like the Instagrammers (who I really like and follow). This is a big part of my life but as I was saying earlier, the music has to give me pleasure. That’s why I collect. It’s an obsession, I’m obsessed with music, but I’m not obsessed with records, or not too much and not in a way that’s going to cause me any stress. I just want to enjoy music.

    And DJing is something that came as a natural extension to this?

    Yes, I had my first gig in Lisbon before I moved here because I had some records but I never thought I would be a DJ. My ex-boyfriend was a DJ and we were together for many years and most of the time I would go and party with him, but I always liked being outside of the booth and just enjoying the music. But it does give me pleasure to play these records for people. It’s something I do and I really enjoy doing but it’s not my goal.

    So what is the goal?

    My ultimate goal in life is just to be happy. And that’s why I moved here, because I wasn’t happy with what I was doing there. And now, I really love Melodies and Cosmos, all day just playing records. I think that’s my definition of a good time. In ten years, whatever I’m doing, I just want to enjoy it. Hopefully it will be Melodies. I always tell Sam that I have a twenty year plan!

    ‘Disco Baby’ is out now on Melodies International, with Maurice Moore’s ‘Everything That Shines Ain’t Gold’ on the way.

  • Melodies International announces two super rare disco reissues

    By | June 20, 2017

    With edits by Floating Points and Red Greg.

    Melodies International is to reissue a pair of obscure ’70s disco belters heard on the dancefloors of the increasingly legendary You’re A Melody parties.

    Fronted by Mafalda and Floating Points, the label will breathe new life into Maurice Moore’s ‘Everything That Shines Ain’t Gold’ and Y. Gershovsky’s ‘Disco Baby’.

    Forty years after its initial release, both parts of Moore’s soul anthem have lifted from the original 7″ and pressed to the same side of a new 12″, backed by Floating Points’ soft touch edit.

    With originals pushing £300 on Discogs, it comes with the label’s signature Melozine mag, a 16-page fanzine assembled by the Melodies family.

    An obscure library recording, originally released in 1979, Y. Gershovsky’s ‘Disco Baby’ has been pressed to 7″ vinyl, and is backed by Floating Points and Red Greg’s edit.

    Both records were initially discovered by Floating Points and Red Greg, whose dancefloor-ready edits have become cornerstones of their iconic You’re A Melody parties, but were never slated for official release until now.

    Available on the 28th July, you can pre-order ‘Disco Baby’ here and ‘Everything That Shines Ain’t Gold’ here.

Our privacy policy has changed - please go here to update your preferences.

Privacy Policy