Quiet Village have a brand new release out featuring the vocals of Vanessa Daou 'Naked Hunger' which we have been playing lots (hear it on the last NTS show HERE) and its super nice. Joel and Matt QV really know their way around the worlds of dance music and we are long term fans so we asked them to pick their Top Ten Sleaze Cuts... Hopefully there are some you don't know but honestly we could have asked them to pick a Top Ten of anything and they'd have smashed it... Check the single for some proper deep house business.

Soft Cell – Seedy Films (Sire 1981)
A sleazy, neon-lit synth vignette from Non-Stop Erotic Cabaret. Marc Almond’s voice drips with decadence while Dave Ball’s electronics pulse in the shadows, playing like a scene from a late-night movie. Its voyeuristic mood and warped cabaret style gave it a special place at the Paradise Garage, where Larry Levan would let its seedy charm unfurl in the smoke-filled hours.
One of Soft Cell’s most daring tracks, it turns the underbelly of nightlife into pure theatre.

Charles Bernstein – Love Theme (Disco Version) (Parachute 1979)Written for the 1979 vampire comedy Love at First Bite, this shimmering instrumental drifts on lush strings, deep keys, and a slow disco sway. Its cinematic drama made it a natural fit for the Saint in New York, where it became sleaze perfection for the late-night crowd. Equal parts film score and club music, it glows with both Hollywood polish and underground heat.

Quincy Jones – The Secret Garden (Sweet Seduction Suite) (Quest 1990)
Quincy brings together Barry White, Al B. Sure!, El DeBarge, and James Ingram for the ultimate slow jam. Velvet keys, sensual production, and four distinct voices create an atmosphere of intimacy that never overreaches. Each singer slips into the groove with their own shade of seduction before melting into the next. It’s late-’80s quiet storm at its most luxurious, the kind of track that still owns the night.

Supermax – Ain’t Gonna Feel (Elektra 1979)
Dark, rolling, and hypnotic — this is Supermax at their most atmospheric. Kurt Hauenstein’s hushed vocals ride over deep bass and space-age textures, blurring disco, funk, and cosmic rock. It simmers with steady intensity, creating a groove that’s as heady as it is physical. A deep-cut favourite, it feels like a portal to the more experimental corners of the ’70s dancefloor.

Who’s Who – Hypnodance (Carrere 1979)The name says it all — relentless bass, stabbing synths, and clipped percussion lock dancers into a trance. Its stripped-down drive is raw but razor-sharp, building intensity with every bar. The repetition becomes hypnotic, creating a heady energy that’s impossible to shake. An electronic disco bomb from 1979 that still sounds electric and dangerous.

John Miles – Stranger in the City (Decca 1976)
Strings, sharp drums, and Miles’ soaring vocal conjure the feeling of neon streets and restless nights. While it was cut as a rock-soul hybrid, it found an unlikely second life in underground New York clubs, played in those heady early-morning hours. Rupert Holmes’s arrangement swells with drama but keeps its grit, showing his flair for cinematic storytelling. An outsider track that somehow slipped into the soundtrack of the city that never sleeps.

Lyn Christopher – Take Me With You (Paramount 1973)
A smoky blend of rock and funk, rolling bass and biting guitars carry Christopher’s sultry delivery. The track’s swagger and atmosphere turned it into a cult favourite on the Dusty Fingers series, embraced by b-boys for its heavy groove. It’s seductive but tough, straddling soulful warmth and rock grit with ease. A forgotten early ’70s gem that still echoes in breakbeat culture.

Braxton Holmes – 12 Inches Of Pleasure (Ron’s Foreplay) (Clubhouse 1992)A deep Chicago house workout with looping bass and rolling percussion, it’s all about hypnotic drive. Little sparks of keys and vocal snippets add tension, pulling the floor deeper into its orbit. Tony Humphries made it a signature weapon, spinning it to devastating effect. Raw, stripped-down, and endlessly playable, it captures the essence of early ’90s house.

The Miracles – Do It Baby (Tom Moulton Unreleased Mix) (Tamla 1974)
This Tom Moulton version stretches Do It Baby into a 7½-minute journey of lush soul and funk.
Wah-wah guitars, strings, and horns shimmer over the rhythm section, while Billy Griffin’s smooth vocal steers the mood. The extended arrangement lets every element breathe, teasing out the track’s sensual swing. A rare long-form disco-soul experience that shows Moulton’s genius for the dancefloor.

Claudja Barry – Love for the Sake of Love (London 1976)
Languid, hypnotic, and drenched in velvet atmosphere, Claudja Barry delivers one of disco’s most seductive moments. Her voice floats over deep bass and shimmering strings, the groove unhurried and magnetic. DJ Harvey immortalised it on his infamous Sarcastic Disco mix, and Montell Jordan later sampled it brilliantly for Let’s Get It On. An enduring late-night anthem that bridges disco intimacy with modern soul influence.

Killer selection there so big thanks to Joel and Matt Quiet Village. Quiet Village ft. Vanessa Daou 'Naked Hunger' is out now - check it HERE.