Sean Brosnan’s Top 5 Tracks For The Dancefloor

Dance Club, the 14th installment of the iconic Future Disco compilation series is out now on all platforms and is an embodiment and celebration of dancing, unity, and togetherness. The 18 track album is an essential album for fans of disco-infused sounds, featuring a host of carefully curated tracks:

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Future Disco head honcho and Dance Club compiler, Sean Brosnan walks you through some dancefloor-ready gems from his vinyl collection as clubs set to re-open their doors once again.

Catch him alongside Laurence Guy and Carly Foxx on the 2nd of July in London:

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Todd Terje – Euro Dans 

It’s actually pitched quite slow so I was always having to pitch this up to make it work in a set. I think this is was Todd Terje’s first official release and obviously done quite well since this has such a great breakdown you can’t help smile and I only have good memories of playing this record at parties all over London. 


Mousse T – ooh song 

I used to play both sides of this record to death. It’s just a simple groove but the bells on this track when they arrive are such a joy to mix and build anticipation with. I used to love playing this to come out of a warm-up as the breakdown kicks harder and it gets the energy in the room moving and brings smiles every time. 

Sharon Read – Beat The Street 

I love ‘Can You Handle It’ also but ‘Beat The Street’ has that house tempo but with an 80’s electro bassline that I never tire of hearing. If you don’t know this record please check it. 


Tiefschwarz – Acid Soul 

I had forgotten about this record until I pulled it out today, to be honest. But what a bassline, a very early Tiefschwarz record, which was a kind of dirty disco sound. It has soul but designed for dark clubs and I played this many a time in the very early hours. 


Mark E – Scared Jisco 001

Another one until I pulled it out today I hadn’t thought about for a while. Lovely well-paced re-edit from Mark E who went on to make loads of great records. This was his first ever go at production and spurred a whole new era of disco edits at a time when disco wasn’t particularly cool and you didn’t just put a drum on the end of an original disco track but created a whole new feeling.  

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