The Warehouse Project opened it’s doors to a new season this weekend with both nights selling out well in advance. The next 16 weeks showcase a world class selection of electronic acts and DJs in the underground arches on Store Street. Most of the parties have already sold out well in advance and it’s no surprise when you read the line ups in full.

Resident DJ Krysko has provided the  support for the last 4 years playing alongside artists such as Underground Resistance, Chemical Brothers, Basement Jaxx, Laurent Garnier, Jamie Lidell, Spanky Wilson & The Quantic Soul Orchestra and Hot Chip.

This weekend the lad from Leeds recorded his set live at the Warehouse Project and has kindly shared the mix with us. If you’ve yet to venture to the Warehouse Project or haven’t heard Krysko play then download the mix and enjoy the full on electronic goodness on this rare occasion.

If you enjoy the music then go publicly display your affection on Matthew’s Twitter page.

As founder (And permanent member) of ambient legends The Orb, Dr. Alex Paterson needs little introduction, as he was instrumental in bringing chill out and ambient house to the nations attention with no.1 records such as ‘The Orb’s Adventures Beyond The Underworld‘ and ‘U.F Orb‘, finding a winning formula by slowing down Chicago house and adding influences from science fiction, imagery and drugs in addition to music by the likes of King Tubby, Cluster, Brian Eno and Kraftwerk, using obscure vocal samples that had ravers yearning for an early morning soundtrack for much of the early 90′s.

Having worked as roadie for Killing Joke to taking charge of Artist and Repertoire for EG Records it’s safe to say he is a true British electronic legend…

The Orb’s ninth studio album sees the reunification of Paterson and long term collaborator Thomas Fehlmann on ‘Baghdad Batteries‘ which was released on Malicious Damage Records (Ran by members of Killing Joke) and is available now. You can also catch The Orb playing live at the following locations (Click to buy tickets):

• 12th October – Digital, Brighton
• 14th October – Academy 2, Manchester
• 15th October – Heaven, London
• 30th October – Club Kovak (Ocean Rooms), Brighton

To celebrate, we were lucky enough to getta hold of this live mix from Alex himself. Enjoy!

Alex Paterson – Cosmic Disco Mix

Sorry, tracklist currently unavailable.

Marco Sarto, Stefano Muratore and Marco Zolla hail from Saarbrücken, directly at the French border in Germany and are The Robot Scientists: Italo & Electro Disco lovers, DJs, Editors, Compilers, Producers, Musicians, Radio Hosts and Record Collectors since the early 80s and we are pleased to host another exclusive mix for your listening pleasure and this week it comes from the creators responsible for one of our favourite obscure Italo/Electro/Space blogs – Mister Italo. A live mix, using vinyl only this is an authentic mix as the guys love wax as much as we do!

The robots have recently finished their first remix for Greg Punkov which will be released on Black Leather Records very soon but in the meantime you can check out the track over on their Sound Cloud page.

The Robot Scientists – Cosmic Disco Mix

• 1.  Miss Kittin and The Hacker – Party In My Head (00:00 - 05:20)
• 2.  Clay Pedrini – New Dream (05:20 – 09:59)
• 3.  Sneak Thief – On Tigris I Thirst (09:59 – 14:14)
• 4.  Maja – If You Love Me Tonight (14:14 – 17:32)
• 5.  The Revolving Eyes – Far From Ice (17:32 – 20:46)
• 6.  Elitechnique – Microbot Melodies (20:46 – 24:06)
• 7.  Egotrya – Volcano (Lightyears Disco Mix) (24:06 – 27:10)
• 8.  Elitechnique – Munich Emotions (27:10 – 31:46)
• 9.  Muravchix – Replicant’s Lament (31:46 – 34:32)
• 10. The Off-Key Hat – This Is Not … (34:32 – 37:21)
• 11. Skatebard – Gamle Furutraer (37:21 – 41:54)
• 12. Fred Ventura – I’m Not Ready (41:54 – 47:07)
• 13. Faze Action – Good Lovin’ (46:07 – 49:13)
• 14. Munk – Down in L.A. (Shazam Version) (49:13 – 52:34)
• 15. D. F. and Pam – On The Beat (52:34 – 57:00)
• 16. Munich Machine – Space Warrior (57:00 – 60:31)
• 17. Charlie – Spacer Woman (60:31 – 63:06)
• 18. Gino Soccio – Remember (63:06 – 66:51)
• 19. Legowelt – 2002 (66:51 – 70:23)
• 20. Munich Machine – La Nuit Blanche (70:23 – 74:34)

The significant resurgence of that predominantly American, black, and gay melting pot of funk, soul and gospel music, also known as Disco, has become ubiquitous. The sheer number of 12 inches released every week under the label ‘Re-Edits’ is unstoppable.

Continuously, during the  last two  years my own record collection has been flown with white labels and re-edits of songs which originals I have never listened to or heard of. Today, when this underground market and tradition seems to saturate itself, searching for the original is mandatory.

To draw similarities with other decades, and say that Disco is back because we are, apparently, going through harsh economical times is justified, but it seems a self-answering explanation. Rather, it seems more appropriate to argue that Disco is back because of technology. Advances in music software have procured new generations of musicians, artists, and DJ’s with endless possibilities to create new music where the only limit is imagination, and Disco with its vast amounts of records, both obscure and accessible, has been the genre chosen to be exploited once again. There are no spacial or financial restrictions. The ‘Re-Editor‘ does not even need musical training or knowledge about how to work with reel to reel tapes to extend the break. Now it has become democratic and affordable. You can create edits on your own laptop as well as a music studio. Although the quality of the music will vary, the tools are out there for everyone to grab and experiment.

After the flood of re-edits we have had over recent years, it looks like the market is ready for the ‘real thing’. Aided by articles published in papers like the Guardian, uncountable number of bloggers posting Disco rarities and b-sides, successful Disco themed nights around the globe, or even Budweiser ads telling us that the ‘Good Times’ are out there, Disco is enjoying a comeback without precedents. The proof of this resides in the number of Disco compilations  that have been released recently; DJ History refreshed Tele Disco with a remix collection of modern retakes by cosmic producers; Horse Meat Disco compiled their floor-fillers on a great Double CD and excellent vinyl release;  Dimitri From Paris commissioning the magnificent compendium of b-sides, instrumentals and dubs – many times much better than their vocal versions – in Nightdubbin’ (on BBE) are just a few instances of this music phenomenon.

The latest addition to this trend is going to be ‘Disco Discharge‘ on Harmless Records, a mammoth collection of 8 compact-discs that will be hitting the shops on the 28th of September, it promises to be the king of all of them. Subdivided into four different variants of Disco with two CD’s dedicated to each (Classic Disco, Disco Ladies, Euro Disco and Gay Disco & Hi NRG), it offers no less than 84 disco tracks.

Compiled by Brightonian Disco devotee Mr. Pinks and with sleeve notes written by Alan Jones, co-author of the book Saturday Night Forever: The Story Of Disco, this series is for both the Disco aficionado and the newcomer. The greatness of it dwells in the versions chosen. All of them are full 12 inches or long album versions; no radio edits here. We get Macho’s ‘I Am a Man‘ in its full 17 minutes of glory, Fern Kinney’s ‘Groove Me‘ in all its splendor and beauty, and many others like Nona Hendrix’s ‘Keep It Confidential’, Amanda Lear’s ‘Blood & Honey’, and Sylvia Love’s ‘Extraterrestrial Lover’. There are also rare and sought after tracks including Gloria Jones’ (of ‘Tainted Love’ fame), ‘Bring On The Love’ (Why Can’t We Be Friends Again), Double Discovery’s ‘Thanks For Loving Me’, Free Enterprise’s ‘Make It On My Own’, Sylvia Love’s ‘Instant Love’, Massara’s ‘Margharita’ and Boy Town Gang’s uncut full length version of ‘Cruisin’ The Streets’ clocking 13 minutes of disco narrative. A generous part of the disco spectrum is covered here -from classic, soulful philly sounds and diva vocals to italo, space and cosmic adventures in sound are all present.

‘Disco Discharge’ is a must have for those who regard Disco as something more serious than a wedding soundtrack, and those who want to learn where the original samples come from.  This is a welcome Disco effort for a new generation of listeners (Like myself…) that were not around in the seventies and eighties and are eager to unearth a new world of sound that deserves to listened, appreciated and carefully studied.

This Is Not An Exit (TINAE) is a relatively young record label that has been releasing extraordinary 12″s since 2006. It has succintly become a reference name among laidback cosmic disco music listeners, djs and fans.

To date TINAE has given us 21 slabs of glorious wax, all filled with surprising acts that have become synonyms of quality music. It was probably the epic, trippy, delicate and mellow ‘White Diamond’ by Bay Area cosmic rep Hatchback, who a year later released the critically acclaimed ‘Colors of the Sun’ on LO Recordings (One of the records of the year back in ’08 by many record shops, e-zines and of course, here at cosmicdisco), which set TINAE as a label to keep in mind.

Regular acts with unusual long names like They Came From the Stars I Saw Them and long album titles as ‘We Are All In the Gutter But Some Of Us Are Looking At They Came From the Stars I Saw Them‘ are difficult to pigeonhole. They have been filling the vaults of TINAE with a melange of psychedelic, cosmic indie and even folky gems like ‘Moon Song’ with a distinctly feel-good vibe. Most of the tracks seemed to have been given carte blanche to experiment with assorted number of music genres in order to provide the listener with something special, disconcerting and distinct. Check the energetic ‘It’s Time’ or the acidic ‘Monkey Typewriter’ to see how easily they dodge categorization. Sometimes mixing too many styles can prove detrimental, but in their case the outcome is sublime.

Other signings to TINAE include Detachment, with a more indie sound but still cosmic enough for us. Check ‘Fear, No Fear’ and the Naum Gabo remix treatment, both essential. Spectral Empire provides mellower, slo-mo and sometimes eerie soundscapes. ‘Black Shark’, ‘KM-50′ or the synth driven remix by French maestros Chateau Flight are vital additions to your record collection.

The list of remixers that TINAE has endorsed is a sign of the quality on offer here: Emperor Machine, Brennan Green, Capracara (DFA), Serge Santiago, King of Town, Optimo, Prins Thomas or Chateau Flight have all collaborated to shape TINAE into a crucial label to watch.

Next up (Due for release on 5th October) the first ep from Italian project Club Silencio for TINAE will be hitting the shops. ‘Felix’ is a number of dubby cosmic funkiness, the Fratelli edit of ‘Objectif Venus’ carries a Mark E stamp on it with its sluggish atmospheric house feel, and for a dancefloor oriented punch, an uplifting remix by Sankt Goran (Bear Funk) is also on offer here. An overall exciting release that will enlarge the ranks of TINAE and will demonstrate that contrary to its name, This Is Not An Exit, is no American Psycho soundtrack, but a desired escape to boundary free cosmic environments.