This single is a perfect representative of the Post-Punk-Nu-Disco era of the late 70's and early 80's. Here, ex-Rotten John Lydon and his Public Image Limited band turn disco patterns into either punky distorded Funk on the "1/2 Mix" or experimental noisy minimalism on the "Megga Mix" which sounds like it was recorded in your bathroom.

Sleevenotes: "At a time when the spotlight has fallen on the pioneering New York clubs of the '70s and '80s as a 3-D alternative to today's zap culture superclubs, the adventurous spirit and boundary-breaking antics of the music makers of the era are equally worthy of closer inspection, from whichever standpoint they are viewed.
The first volume of Disco Not Disco focused on live musicianship and some unexpected leftfield meanderings from established names from the world of rock. Volume 2 balances this with a nod to a select band of electonic pioneers who made up their own rulebook as technology jumped forward in the early '80s. The experiments were bubbling away in sound labs across the world. On this album, you will hear grooves from New York's avant garde, from Italy, Switzerland and Denmark. Even reggae producers were pushing electro into their booming basslines. At the time, most of these musicians were probably seen as a bit barking. Today, they are universally influential on a whole generation of dance music studioheads."

Between 1976-1981, Throbbing Gristle troubled eardrums, shatterd preconceptions and changed lives-young Andrew Weatherall`s among them.They advocated total musical and personal freedom, founded Industrial Records; name adopted from Monte Cazazza´s phrase "Industrial Music For Industrial People", to describe their extraordinary blend of art, philosophy and ungodly racket.

This caused tabloid-fueller moral panic over acid house,D Mob,honestly,if rather feebly,claimed that all extra E´s in the title only echoed the popular dancefloor chant of the day.The BBC still banned D Mob on the grounds that they were overtly promoting drug use.

Perhaps not DJ Pierre´s best work,but this Marshall Jefferson produced wonder spawned a generation of copyists who have since attempted to emulate that twisted bass rumble.Proclaimed the Roland 303 the machine of the century.

Canadian filth machine Peaches has taken the art of profanity to new levels both on record and with her "eye-catching" stage antics."Rockshow" gets a welcome re-airing,with a hilarious,eighties hair metal cover version by Electric Six on the flip.Limited seven-inch status makes this even more desirable than Ms Nisker herself.

An album that´s joined the dots between house,techno,hip hop,soul and jazz to the benefit of all and the detriment of none.This is a lesson that`s worth repeating.