This Friday we are treated to the UK debut of underground disco-edit heroes Marvin & Guy. Having previously only played in their native Italy, The US and in Japan, the boys now join us in the laser basement for a journey through their own personal brand of cosmic and chugging disco and techno. Ahead of Abattoir we caught up with them to find out more about the enigmatic duo…
What’s one record that brings Marvin & Guy together?
Definitely Alides Hidding – Hollywood Seven.
How do your re-edits come into being? Are they borne out of love for a particular track or does inspiration hit you as you’re listening to one?
When and why did you decide to set up Marvin & Guy Records?
M&G Records was born as an necessary step for the work we were doing at that time.
Tell us about your own personal introductions into the world of disco…
We met five years ago on the same line about the NYC Disco Scene of Paradise Garage and Music Box in Chicago. We live in a small city here that’s why it seems that nobody knew what we were talking about except for both of us.
What’s one track that would be sacrilege to re-edit?
For Marvin Dan it’s Chaka Khan – I Know You I Live You and for Lee Guy it’s T.C. Curtis – You Should Have Known Better.
If you had a time machine and could visit any dancefloor of history- anywhere/anywhen- where would you want to go to?
There is one particular night from the past we would like to join. The night in 1982 where Gwen McCrae performed live at Paradise Garage in NY, nothing more.
Why, with your one divergence from disco, did you choose to rework Patti Smith?
Every track can be “discotized”, even a Patti Smith classic.
What are your fave queer/mixed parties around the world for dancing and DJing?