Nu-disco

French house could be considered the precursor of the movement in the late 1990s.. Artists like Daft Punk, Cassius, Alan Braxe, Fred Falke, Lifelike, Kris Menace or Faze Action have started making music in mid 90s and are all mostly called the early pioneers of early nu-disco scene.[7][3]

The moniker first appeared in print as early as 2002, and by mid-2008, used by record shops such as the online retailers Juno and Beatport.[1] Originally, they associated it with re-edits of classic disco records and a handful of European electronic producers who made music in that style. 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.[8] 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.[1] Spin magazine placed an umlaut over the "u" in "nu", used the term interchangeably with Eurodisco, and cited strong Italo dance as well as electroclash influences,[2] while many other labels refer to it as "Nu Disco," sans the hyphen. As of 2015, remixes and disco edits of old songs sit side-by-side with highly original productions on websites such as Beatport and Traxsource.

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, Love on my Mind by Freemasons and two remixes of 1980s disco song "Waiting for a Star to Fall" all making the top ten of 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.

When electro house dominated mainstream scene, musicians started producing shiny, spacious and extravagantly melodic balearic music, heavily influenced by disco, which later was described as distinct nu-disco scene.[9] Such producers as Alan Braxe, Fred Falke, Kris Menace[10],Aeroplane,[11] Lifelike[12][13] & Todd Terje[14] are considered as pioneers of evolved nu-disco scene. Lifelike & Kris Menace's single "Discopolis" and Tensnake's single Coma Cat both re-released on Defected Records, hit the European charts and had been one of the most success nu-disco tracks of that time.[15][16]

In 2013, several disco and funk-influences songs charted as top hits, 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.[17] The biggest disco-house hit of the year as of June was "Get Lucky" by Daft Punk, featuring Nile Rodgers on guitar.[17] 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.[17] Both were popular with a wide variety of demographic groups.[17] Although many credit Daft Punk with bringing back disco in 2013, it is far from their most quintessentially French Disco record, and some even say that disco never left in the first place. But with high-profile collaborations with disco legends such as Giorgio Moroder and the aforementioned Nile Rodgers, disco is now not only in the public's ear, but in their consciousness as well.[18]

A modified version of the original master, edited by disco and house DJs to extend and emphasize the best and most dance-friendly elements. Todd Terje's edit of the Bee Gees hit "You Should Be Dancing" does exactly that, downplaying the dated vocal riffs in favor of driving bass, lively percussion, and an overall sense of space.[19] 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.[20]

Modern notable disco editors include Greg Wilson, Todd Terje, Dimitri from Paris, Joey Negro and the Flying Mojito Bros.

Since nu-disco is a dance genre first and foremost, the drum grooves are an essential part. They often feature four-on-the-floor beats with an organic, lively feel based on the sounds of classic disco recordings by Chic, Sister Sledge, and others.[21] In some cases, producers will sample these grooves directly. Los Angeles-based producer Goldroom uses both house and disco influenced drum grooves in tracks such as "Waiting to Ignite"

While modern production is abundant with synthesized sounds, many nu-disco records are, in the disco tradition, driven by guitar or bass licks. Guitarist, producer, and songwriter Nile Rodgers brought riffs to the forefront of the groove with Chic in the 1970s and again with Daft Punk in 2013.[21] Other notable modern examples include "Baby I'm Yours" by Breakbot and "Holding On" by Classixx[22]

As with other electronic genres, nu-disco producers use both digital and analog synths to create melodic and harmonic lines, and add ambiance and color to their records. Kris Menace had started to combine classical disco elements with synthesiser music. His albums "Idiosyncrasies", "Electric Horizon" and "The Entirety Of Matter" received international Reputation. His release with Lifelike titled "Discopolis" is a notable release for this genre. [23] [24] [25] [26]

Unlike its disco precursors, nu-disco and disco house are not beholden to song forms that are essential to the modern pop idiom. Rather than following the traditional verse-chorus model, nu-disco tends to take after its electronic cousins, with more drawn-out, repetitive sections that slowly ramp up to the chorus and back down again. Otherwise monotonous lines are brought to life with the use of filters, samples, and other subtle changes in the sound or groove over time in ways that make people want to keep dancing. Daft Punk 's "One More Time" is considered one of the most influential examples of the application of "filter disco." [27]