GW 2018 01 - credit Nick Mizen.jpg

We started Future Disco in 2009, the Disco/Nu Disco scene has changed a lot since then in terms of sound, direction and fanbase. What’s your view on it at the moment?

I think the current Disco/Re-Edits movement is now regarded as a mainstay of the overall scene. What was once generally a back room thing has now moved into the main rooms. This has happened on a global level, so it’s certainly found an important role in todays club culture.

You’ve always had a close affiliation with Future Disco, whether it be playing at our parties or included on our compilations. Are you excited for the upcoming Future Disco release?

The first track on the first ‘Future Discocompilation was my mix of Secret Sunday Loverby Ignition, so yes, the association goes back to the beginning. The inclusion of Sweet Tooth Ts cover of She Cant Love Youon the latest volume is particularly notable for being the first track on my own label, Super Weird Substance, to appear as part of the series.

We’ve got an exclusive edit from yourself on the new album A Disco Fantasy. What was the inspiration behind the edit and why did you choose the track?

She Cant Love Youwas originally recorded by Chemise in 1982 a cult underground tune released on cutting-edge dance label, Emergency, although never issued in the UK. Our original cover in 2016 combined She Cant Love Youwith a later track from 1999, Feel The Sameby Triple X, whilst a further version juxtaposed it with an original recording ‘C’Mon Sway. It was only later that I realised that I should have edited a version with She Cant Love Youon its own, so when Future Disco wanted to include an exclusive edit of the track this seemed the ideal way to go.


Do you feel edits still have a huge part to play in modern Dance and disco music?

Absolutely, cut and paste is part of our language, be it editing sound or photoshopping images. Edits and reworks are a part of the dance landscape now.

Music is forever changing as we know, especially with role that technology is playing. For you personally being a touring DJ and artist, what’s been the biggest change?

The fact that DJing, which once meant playing records, now takes on so many different guises, with a whole range of options, be it CDJs or programs like Ableton, Traktor, Serato etc, with records and turntables still a part of the equation for many. For me personally, its never been about the format, but what comes out of the speakers, so its good that different DJs can take different approaches. DJs nowadays are so much more technically skilled than they once were, although Id still say that DJs when I started off, back in the 70s, generally had better programming skills with regards to their selection of records one false move back then and a busy dancefloor could totally empty.

What have you got planned for the remainder of 2018, are you involved with any festivals, some new music lined up perhaps?

Festival season is quickly approaching once again, so Im going to be busy both in the UK and Europe at various gatherings then later in the year, their summer, Im hoping to be heading out to Australia on tour. The new Credit To The Editcompilation is released in April, the third in the series, and Im also planning to release more tracks on Super Weird Substance as the year unfolds.



Back in 1983 Greg Wilson appeared on Channel 4’s influential music show, ‘The Tube’, demonstrating mixing for the first time on live TV in the UK. The footage is nowadays fondly regarded as part of British dance heritage, illustrating how the New York innovation of mixing was finally finding favour on this side of the Atlantic, where the microphone was still a key component of the DJs approach.