Gerd Janson & Sgt Slick Revamp Tommie Sunshine & Disco Fries’ “Don’t Look Back”

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tommie sunshine don't look back gerd janson

Following the global success of Tommie Sunshine and Disco Fries’ hit single “Don’t Look Back,” Australia’s Sgt Slick and Gerd Janson revamp the original track with a groovy remix pack out now via Vicious Recordings.

Gerd Janson and Sgt Slick’s remixes have already garnered early support from Spotify’s Cratediggers, Beatport, New In Dance on Apple Music, and Indie Dance Now on Amazon Music.

With the original track released in 2011 onto Vicious Recordings, Tommie Sunshine and Disco Fries’ “Don’t Look Back” received high accolades and official remixes from a number of producers including Rogerseventytwo, DSKOTEK and more. Now on the 10th anniversary, Sgt Slick and Gerd Janson breathe new life into the original hit with groovy disco flare.

The remix pack begins with Gerd Janson’s new school take on club sounds with both a melodic dreamy vocal mix filled with classic synth and drum sounds, but with a modern edge, shuffling under the vocodered title line. Next, Sgt Slick’s aptly titled “Discotizer” remix does exactly that, dropping classic strings and a grooving bassline with his funky house meets disco take and providing a full vocal experience. Sgt Slick and Gerd Janson’s remix pack is a forsure good time and will have you dancing the night away!

This heavy hitting remix pack is complete with two revamped music videos which features Nick Uhas (American TV host, former professional inline skater, actor and YouTuber) that pay homage to the original 2011 music video. You can find the Gerd Janson music video here and you can view the Sgt Slick music video here.

Sgt Slick mentions:

“I always loved playing the original of this when it came out way back, and especially loved that vocal filter trick that comes after the chorus “no-no-no-no” so I knew I had to keep that in my remix. Besides that I always thought the vocal delivery was really soulful and smooth, so I built up a super disco backing with a big string hook and basically treated it like a sample, filtering it in and out and playing it off the vocal hooks. It’s been going over really well down here in Australia!”

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