Disco was, for far too long, maligned and misunderstood. It was the original underdog, enjoyed by the outcasts of society until, by some miracle, this minority driven milieu emerged in the mainstream, lodged in the minds of the middle-class through the likes of Ethel Merman, a Disco Duck and countless rock stars crossing over to cash in. Overnight, it was everywhere, albeit in a banal, watered down form, being forced down the throats to such a degree that it was bound to trigger a gag reflex. And it did. Lead by the "Disco Sucks" movement, Disco was retched to the depths from which it came; the underground night clubs, lofts and warehouses that were also to produce house music. The fall of disco, from such dizzying heights, was a blessing in disguise, as only the faithful remained - the dancers, deejays, musicians and producers who got funkier and freakier with the music than ever before.

Beam Me Up’s understanding of Disco is far-removed from the AM radio polyester-set, focusing instead on the soul, funk and jazz which is at the core of this genre-bending movement. It’s expressive, eloquent message is the furthest thing from formulaic, with a four on the floor beat that is tailored for the dance floor and an egalitarian nature that is inclusive, loving and full of positivity. These sentiments have been echoed in the spirt of the guests that Beam Me Up have been able to bring in: Kon, the Boston Disco Don. Al Kent, the Glaswegian Giant. Psychemagik, the Cosmic Couple. Tom Noble, the Regent of Rare. These parties in loft, warehouse and back-room bar alike are the evidence that embody the Beam Me up belief; Disco is not dead.