Albuquerque’s Musical Evolution: Blending Brazilian Beats with Global Grooves in ‘Stay High’ EP

Albuquerque is one of the great representatives of Brazilian electronic music and the founder of expressive brands such as Radiola and Sonido Profundo, which act as record labels and label parties. He is also one of the senior resident DJs at Warung Beach Club – since 2013 – an experience that has allowed him to absorb a knowledge of the dance floor that perhaps no other place could offer.

But more than just a great DJ, Albuquerque is also proving to be an increasingly sharp producer who is aware of the work he does in the studio… his new EP on Warung Recordings is proof of that. ‘Stay High’ arrived on October 20th with two original tracks in collaboration with Argentinian Emi Galvan and a remix by RIGOONI, all with an excellent dance floor groove.

Below, you can check out the full release and learn more about this Brazilian artist who has had his tracks played by Progressive House icons such as Hernan Cattaneo, Facundo Mohrr, and Nick Warren.

Hello, Albuquerque! Let’s start by talking about your new work for Warung Recordings. How did ‘Stay High’ come to life? Where are the vocals from, and what was the inspiration for producing this EP?

Hello, it’s a pleasure to talk to you! I started this song with the melody of the stab chords. A bassline and some FX. I sent it to Emi, and he put in the arpeggios and sang it. A few days later, he called me a little unsure if the vocal was OK, and I said: “Are you kidding? It’s sick!”

Did you know Emi Galvan’s work before? Who invited you to the collab? In your view, where does each person’s sound identity lie in this EP?

Yes, I knew him very well. I’ve listened to his sets and played his tracks for a long time. I’ve always been a fan of the music he produces; he’s a great inspiration. Emi saw a video of me playing one of his tracks and sent me a message. We talked for a while and he suggested we do some songs together. He started ‘Don’t Kill The Messenger’ and sent it to me. I started ‘Stay High’ and sent it to him.

The EP quickly garnered support from Hernan Cattaneo, Facundo Mohrr, Nick Warren and more. What do you credit this to? Perhaps because your production level is at its best at the moment?

It’s a combination of things. The three DJs you mentioned, Hernan, Facundo and Nick, are artists who have supported other tracks by me and Emi. I think that when a “promo” of ours arrives in their hands, they pay extra attention and this is the result of consistency.

We are both artists who value musical quality and dancefloor energy. Artists who play big stages and festivals worldwide look for tracks that can deliver that combination that both tracks on the EP bring. I believe I’m evolving as a producer every day and I also think that the partnership with Emi has taken the tracks to a higher level.

Your name is constantly present in the Warung Recordings catalog; after all, you’re the club’s resident DJ, and know the sound the public consumes very well. Is the idea always to produce something related to Warung’s musical essence? How does your creative process work in this case?

Warung is my biggest inspiration. It’s the club that most connects with my essence. However, there are many lines of sound in electronic music. I’ve enjoyed producing tracks that I think would fit better on other labels. I recently released Dilby on Stereo Productions. 

I also had a release on The Soundgarden with the duo GRIFE. There are different moments, partnerships, and scenarios. It all has an effect. Whenever I have music that connects with Warung’s vibe, I’ll do my best to release it on the club’s label, but that’s not and shouldn’t be an obligation.

Your songs are almost always in collab format. Do ideas flow better when you share them with another producer? Who are you working with now and who do you still dream of producing with?

It’s true. Most of my recent releases have been as a duo. I like to share this moment of creation and refinement with artists who inspire me, like Emi, Dilby, Kostya Outta, Dnox, Cancci, Antidot, Lostin and Grife. I’m working on a new one with Fell Reis too. I have two songs almost finished with Foletto. I produce every day on my own, but ideas come and go with the partnership. There’s daily feedback and that’s really nice, it helps me a lot.

I imagine that for you, the fire that hit Warung was quite a shock. Now, however, the dance floor is being rebuilt. What do you expect from the return of Inside, where you’ve experienced so many memorable nights?

Yes, that moment was unfortunate for everyone who loves the club. It was a feeling I never thought I’d have to go through. Fortunately, the Warung group is very strong and has managed to turn things around.

I’m looking forward to enjoying the dancefloor and playing on this new floor, which promises to be insane.

In recent months, you’ve played in various places in Brazil and also in Argentina. What have been your best moments since the electronic scene returned to normal after the pandemic?

Unfortunately, many cool clubs closed down during this critical period. On the other hand, a new generation of parties has also emerged. The parties in Rio Grande Sul have been very good in my opinion. The energy on the dance floor is different and the structure of the events is excellent. For me, this is also the highlight of the parties in Argentina. The quality of the sound, lighting, and structure, as well as the people who come to enjoy it, put their phones away, dance and give themselves over to the party. Posadas, Formosa and Buenos Aires were nights I’ll never forget.

There’s been a lot of talk these days about Artificial Intelligence and the facilities it has brought to music production, making everything more automatic. In your opinion, have songs lost their originality? How can you use this new technology without losing the musical essence?

I think it’s a resource that has come to add value. No one is going to stop putting their mind to the creative process. There may be shortcuts facilities, but if it’s not well directed, the producer won’t get where they want to go. No AI can do the whole process. You have to understand how each tool works and that takes years. It requires study and dedication. I’m curious to learn how to use some of the options on the market that are yet to come.

Finally, we’d like to know what lies ahead in this final stretch of 2023 and what the objectives are for 2024. Thanks, Albuquerque!

I have a tour in Argentina in November that I’m very happy to be able to do. Buenos Aires, Chaco and Tucuman. I’ve felt that Argentina has received me very well and I want to give something back. I also have a 3-date tour in the United States in December a New Year’s Eve party in Boipeba, Bahia for the first time. A launch at Sonido Profundo to close the year. And lots of studio days ahead of me until then.

In 2024 I want to continue my production routine. I want to expand the launches of Warung and Sonido Profundo, and maybe produce some bigger events again, with my own face. We’ll see how it goes, but there are many plans!