For its seventh release Shaddock unearths a genre-defining piece of music overlooked by even the most thorough of crate diggers, backed by a storming Hercules & Love Affair remix. ‘New York, New York’ by DeeKay Jones, is an electrifying piece of hypnotic electric-disco-wave, produced in the eponymous city’s concrete jungle back in 1981. It’s a track that had all the potential to propel dance music forward: Relentless drum computer beats that predate techno – and even Chicago house – by years. A minimalistic synth hook that sounds more futuristic than any cutting edge dance record available at the time. And brilliantly overdubbed chants (taken from a 1970 The Last Poets album), which anticipated sample culture and should have made this an anthem. Yet, it never happened. ‘New York, New York’ only appeared on an obscure compilation titled ‘The Pulse Of New York’ in 1983 that went largely unnoticed. It has brought its two producers, Dennis Kelley and Bruce Grant neither fame nor fortune. Kelley went on to produce recordings by artists such as Mike Ladd, while Grant, who passed away in 2009, remained a brilliant bed-room tinkerer, whose experimental tape manipulations drew praise from hip-hop artists like El-P and even prompted a New York Times portrait (titled ‚ÄúThe Hip Hop Man‚Äù) in 1997. ‘New York, New York’ is accompanied by two more unreleased DeeKay Jones tracks from the same era: ‘Hirasaki’ showcases Bruce Grant’s work with tape recorders playing at varying speeds over a slow, Man Parrish-style electro beat, and the equally daring ‘Feel It In Your Gut’, which has Grant simulate free jazz saxophones by spinning bird-call recordings on a turntable by hand. Who would be better suited to pay homage to the pairs under-appreciated genius than NYC’s favourite adopted son, Andy Butler a.k.a. Hercules & Love Affair who is teaming up with his Viennese buddies Ha-Ze Factory. Staying true to the original track’s feel and rhythm, his remix transports ‘New York, New York’s rarely exploited floor-filler qualities into the year 2013, opening a time-distorting worm hole between Shaddock’s alternate universe and the one we strut our stuff in.