|Stylistic origins||American influences
|Cultural origins||2000s Europe (France)|
Nu-disco (or sometimes referred to as disco house or electro-disco) is a 21st-century dance music genre associated with a renewed interest in 1970s and early 1980s disco, early to mid-1980s Italo disco and boogie, and the synthesizer-heavy Euro disco and P-Funk aesthetics. The genre was especially popular in the mid 2000s. In 2013, the nu-disco style once again became mainstream, as disco-styled songs by such artists as Daft Punk, Justin Timberlake and Robin Thicke filled the pop charts in the UK and the US. This trend continued in 2014, when similar styled songs by Katy Perry and Pharrell Williams among others entered the charts as well.
The moniker appeared in print as early as 2002, and by mid-2008 was used by record shops such as the online retailers Juno and Beatport. These vendors often associate it with re-edits of original-era disco music, as well as with music from European producers who make dance music inspired by original-era American disco, electro and other genres popular in the late ′70s and early ′80s. It is also used by Beatport, alongside alternative dance, to describe the music on several American labels that were previously associated with the genres electroclash and french house.
In 2002, The Independent described nu-disco as the result of applying "modern technology and pin-sharp production" to ′70s disco and funk. In 2008, Beatport described nu-disco as "everything that springs from the late 1970s and early 1980s (electronic) disco, boogie, cosmic, Balearic and Italo disco continuum," while Spin magazine placed an umlaut over the "u" in "nu", used the term interchangeably with Eurodisco, and cited strong Italo disco as well as electroclash influences.
In the mid 2000s many covers and remixes of songs from the 1980s in the nu-disco style were popular as well as original songs in this style, with disco house songs such as Lola's Theme by the Shapeshifters, Call on Me by Eric Prydz, The Weekend by Michael Gray, Out of Touch by Uniting Nations, Shine by Lovefreekz, So Much Love To Give by the Freeloaders and two remixes of 80's disco song Waiting For A Star To Fall all making the top ten in the UK Singles chart in the second half of 2004 and first half of 2005. The trend continued until mid 2006, when more electronic varieties of house such as electro house began to become more popular. In 2013, several disco and funk songs charted, this time more in a 1970s style and one source stated that the pop charts had more dance songs than at any other point since the late 1970s. The biggest disco hit of the year as of June was "Get Lucky" by Daft Punk, featuring Nile Rodgers on guitar. The song was initially thought likely to be a leading candidate to become the summer's biggest hit that year; however, the song ended up peaking at number 2 on the Billboard Hot 100 chart for five weeks behind another major disco-styled song, Robin Thicke's "Blurred Lines", which spent twelve weeks at number 1 on the Hot 100, and in the process became the eventual song of the summer itself. Both were popular with a wide variety of demographic groups. Other disco-styled songs that made it into the top 40 were Justin Timberlake's "Take Back The Night" (No. 29), and Bruno Mars' "Treasure" (No. 5).
Disco edits (re-rubs or re-edits) are traditional disco songs from the 1970s and 1980s which have been edited in some way, often using software but occasionally with a razor and reel-to-reel tape (a tape edit). The distinction between an edit and a remix is that an edit does not incorporate additional production, only the manipulation of the source material, whereas a remix can include as many new instruments and sounds as the remixer prefers. A "re-rub" and a "re-edit" fall somewhere in between, with re-rubs being tracks that have been cleaned up (from the vinyl source material) and straightened to a regular 4x4 beat, sometimes incorporating additional production. A re-edit is an edit in which the song's parts have been re-organized and minor additional production has been added, such as a more prominent drum beat, but the overall tone of the song has been left intact.
Classic 1970s and 1980s disco remixers and producers such as Larry Levan, Shep Pettibone, Francois Kevorkian, Bernard Edwards and Nile Rodgers are often cited as influence to modern editors. Many nu-disco producers are also disco editors and often there is a bit of overlap between the two genres as many nu-disco songs feature samples of classic disco tracks. It is also not uncommon for an edit to be made of a modern track.
- Reynolds, Simon (2001-07-11). "Disco Double Take: New York Parties Like It's 1975". Village Voice. Retrieved 2008-12-17.
- "Beatport launches nu disco / indie dance genre page" (Press release). Beatport. 2008-07-30. Retrieved 2008-08-08.
Beatport is launching a new landing page, dedicated solely to the genres of “nu disco” and “indie dance”. ... Nu Disco is everything that springs from the late ′70s and early ′80s (electronic) disco, boogie, cosmic, Balearic and Italo disco continuum...
- Beta, Andy (February 2008). "Boogie Children: A new generation of DJs and producers revive the spaced-out, synthetic sound of Eurodisco". Spin: 44. Retrieved 2008-08-08.
- It’s Happy, It’s Danceable and It May Rule Summer New York Times May 29, 2013
- Nash, Rob (2002-10-19). "Clubs: New Releases: Tutto Matto Hot Spot". The Independent.
- discopatrick site
- Credit To The Edit Volume Two: Sleevenotes | Electrofunkroots
- Anatomy Of An Edit | Greg Wilson
- ReRub vs Refix vs Remix vs whatever else - NorthwestTekno