Man Power returns to Echocentric. Swirling, hypnotic genre escapism for the open-minded DJ.

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Man Power debuts on Rekids with ‘We Trawl The Hurts’ ft Louisahhh. The duo’s first collaboration, a huge spoken vocal house cut, comes alongside three interpretations from Deetron.

DJ, producer, promoter, composer, and cultural agitator Man Power makes his debut on Radio Slave’s Rekids with ‘We Trawl The Hurts’ featuring Louisahhh on 12th April. The first fruits of a long-term friendship see Man Power (Me Me Me/Throne of Blood/Optimo) serving up a stomping, big-room cut that tips its hat to late-90s NY house and serves as a bed for the inimitable Louisahhh’s (RAAR) breathy vocal delivery of classic Prefab Sprout lyrics.

An intimate, spoken-word vocal from Louisahh weaves through a world of vibrant pads and chords. The gorgeous lyricism of their ‘We Trawl The Hurts’ is underpinned by an uplifting and emotive swirl of melody and a rock-steady beat. Man Power’s love of Murk and Tenaglia shines through.

The evergreen Deetron delivers three versions of ‘We Trawl The Hurt’s ft Louisahhh’: a remix that flips the original into a thumping deep techno cut featuring loopy synths and pixelated leads, a stripped-back and powerful dub, and his DJ tool ‘drum and bass’, built for those who like to mix.

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A release that doesn't bow to genre conventions, deeply emotional at its core. Sometimes cinematic, often infectious, and always loosening limbs on the dance floor. This is Man Power music.

Geoff Kirkwood's first vinyl release of 2023 comes courtesy of Helsinki's Echocentric Records. Kirkwood is just as comfortable writing and presenting experimental symphonies, ambient hauntology, and audio-visual orchestral performances as Bed Wetter or delivering raucous kinetic techno as MPX. For everything in between, he is Man Power

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Alan Dixon launches his brand new label Love Attack, the Multi Periodic Oscillations EP being a three tracker from Man Power at his curious techno best. Deep, dark and dubby, not to mention suitable for 3am needs everywhere, it opens with 'Cepheid Variable Part 1', 11 minutes of twists and turns, revolving around a hypnotic groove. Its baby brother 'Part 2' keeps the vibes intact before 'Applegate Mechanism' closes the EP in a straight up dancefloor fashion. Keep your eyes on Love Attack, with many more releases lined up for the next year.

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Influential UK artist Man Power makes his Skint Records debut this December with a thrilling new offering featuring Berlin’s Private Agenda. Man Power is a true electronic virtuoso who has proven he can do searing acid, raw techno and expressive disco with equal elan. As well as running his own Me Me Me labels, he has appeared on top outlets like ESP Institute and Correspondent and now impresses once again with the help of Berlin’s Private Agenda. The electric original version of ‘Do It Thin’ is an intense and steamy affair with Eurobeat synths and Italo piano chords that are sure to make a huge impression on the crowd. Vocals that Bronski Beat would be proud of soar to the heavens and get hands in the air whilst the hard hitting drums drive things forward. Dramatic chords build the suspense, leading you towards an epic, guitar laden breakdown with well sequenced synths adding weight and colour. Edgy and expressive, it is a real stomper with a fusion of myriad different styles. An instrumental version is also supplied that removes the vocal and allows the studio skills and musicianship to really shine, this was a showstopper in Man Power’s recent Boiler Room set and it not to be missed. Man Power marks his Skint debut here with the same sense of timelessness and quality that has defined his career to date.

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The ‘Vista’ EP caps off an intensely busy year for Geoff Kirkwood, otherwise known as Man Power. The British DJ/producer has become quite the ‘tour de force’ in 2018, with releases and remixes for Futureboogie, DFA, Correspondant, Exotic Series, Skint Records, and his very own Me Me Me imprint. So it seems quite fitting to seal a productive 12 months with a release on Richy Ahmed’s Four Thirty Two, a label that itself has been firing out big releases this year from EJECA, Jansons & Senzala and Ahmed himself. And joining this big end of year party, enter stage left, Roman Flu¨gel, who delivers an absolutely stellar remix of ‘Vista’. Meaty synths and clattering 909 drums are doused in futuristic Italo disco vibes for ‘Outrider’, whilst a winning combo of breakbeats and acid affected bass provide the backbone of the simply gargantuan ‘Vista’. Roman Flu¨gel’s interpretation of the title track brings the break to the fore, playfully teasing out the acidic sounds and surging strings for another truly memorable remix that we’ve come to expect from Mr. Flu¨gel. Closing the EP, ‘Poly Pop’ delivers a vivid and bright burst of melody over clanking percussion and sturdy beats, filled with ‘end of the night’ optimism that’s become Man Power’s forte.

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Me Me Me is two… and in keeping with the name it seemed that I had no choice but to put out what is only my second ever release on my own label since launching with the debut release “Tachyon” back in 2016.
(It’s also the labels 13th release too. Spooooooky) So here it is, a double A Side... Side A is “Valhalla” which attempts to be as majestic as the name suggests. Side AA has “Fidelity", which is me channelling big room house as much as I can, while trying to keep ahold of whatever heart strings I can tug on. I’ll let you judge if I’ve achieved what I’d set to do with either.

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Man Power his raw electronic sound, organic flourishes and diverse selection make him a perfect match for DGTL, both on stage as well as on the imprint. Next to releasing a steady flow of records on established labels like ESP Institute, Optimo Trax, Correspondant and Hivern Discs, Man Power is running his own shop as well: Me Me Me. This gives him an outlet to release music by both friends and himself. For his release on DGTL Records he created a three-track EP called Apologue EP, that showcases just two of different sides of his multi-faceted musical scope. The a-side features two firm, acid influenced tracks. The first of these two, The Duelist, is an emotive house record, with a soundscape of piano melodies, synths and syncopated percussion laid on top of an acid bassline. El Mago del Tiempo features heavy hitting kicks combined with a sharp synth pattern. It has a long build up that keeps evolving throughout the entire composition. Halfway through, the track breaks in to a raw and fierce rhythm accompanied by yearning, drawn-out synth pads. On the flipside, Put Your Hands on the Car (And Get Ready To Die) brings back memories of a long gone past with nods to Balearic Pop, EBM, and the Soundtrack work of Stewart Copeland, James Horner, and Jan Hammer. This multi layered production has a warm and analogue sounding feel to it that rounds off a 3 dimensional release.

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Newcastle-born, Mexico-based Man Power debuts on Optimo Trax with two psychasonic missives cut extra loud for optimum sound system performance. We asked Man Power for some words about this release and he told us - "Both tracks sound different, but they're both from the same place in as much as they represent a conscious effort by me to strip back some of unnecessary niceties in my music and really sharpen my focus on what makes people dance without crossing the fine line of what makes me sound like me.

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Correspondant can finally reveal the release of the remixes for Man Power’s debut LP, which was released last year on Correspondant. A year in the making, the remix package features artists and friends hand-picked by both Jennifer Cardini and Man Power himself. Disco Halal’s Moscoman remixes the baggy splendour of Beilsteiner, creating a rolling and belching extended opus more focused toward the peak time dance floor. Hivern Disc’s JMII takes Hunting Swan and turns it inside out, exploring space with a cerebral, schizophrenic quality. Alternatively, Pale Blue (Mike Simonetti) takes Boys Beware and re-imagines it as an aggressive drum workout. Completing the package, Suade, the artist who also mastered the original album, replaces TEN’s balearic leanings with an IDM sensibility, yet still retains the optimism of the original track. All 4 remixes manage to exist as distinct works in their own right, while paying homage to the "magpie" approach of the original long player.

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Man Power left his Northern home and ran south of the border. This is his first offering for the ESP Institute. On side A, he proves that he truly is The Tourist, delivering what we’re already toting as our Summer anthem—a relentless hurricane drum pattern full of toms, timbales and splashes that lays the rhythmic foundation for his Pacific chords and euphoric melodies–an undeniable floor-filler that invites all to dance unencumbered by the constraints of “functional” club music. With side B’s Oye, Man Power rolls out a similarly vibrant combination of drums and rhythm, however he toughens up the aesthetic with a massive rolling acid bassline, only briefly letting up for a spot of layered marimbas and spriteful pads before culminating in an emotional finale. After spending a couple years churning out tracks for various labels around the world, Man Power has undoubtably shifted his narrative point-of-view and updated his sense of craft upon his induction to the ESP Institute. These two songs will throw a wrench in your holiday.

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Swell is the debut album by Marske, a spoken word performer, musician and visual artist originally from the North East of England. Written and produced with fellow north eastern music maker Man Power (aka Geoff Kirkwood) and released on Me Me Me, Swell is available digitally, and as a special limited edition 12" record featuring a gatefold sleeve designed by Marske. Swinging from poignant self reflection to wry social commentary and laugh out loud midlife malaise, Swell sits somewhere central in a Venn diagram featuring The streets, Throbbing Gristle, Sleaford Mods, John Cooper Clark and Underworld. It's a coming of (middle) age album that sees two established creators working together at their idiosyncratic best to create something as honest as it is unique. "Welcome to Marske. It's not for everyone" TRACK LISTING:A1. Open, A2. Cine Fume, A3. 2 Prayers, A4. Pentangle Tangle, A5. He Don't, B1. Sit Still, B2. It Never Entered My Mind, B3. Gaps, B4. A Man In Distress, B5. Tracy


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The enigmatic Vyvyan returns to MMM with the incendiary single, CoatBraPants. Backed up with 2 remixes from Running Back’s Gerd Janson, as well as the debut remix from Charlie Nobody, the single further displays the unique driving disco house hybrid stylings of Vyvyan, and acts as the perfect precursor to his Debut album, also to be released on MeMeMe and expected in early 2020. Not content with a single bite of the peach, Gerd Janson has provided us with both an out-and-out 90s New York house interpretation, as well as a separate organic dark-disco-dub version. "Charlie Nobody”, aka Chris Stoker from Ess O Ess and Not An Animal Records, laces his first ever solo piece of released music with a psychedelic dose of dancefloor arpeggiation nestled beside some sweetly balearic guitar playing.

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Man Power’s Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins’s originals are backed by stellar remixes from Austin Ato and Kiwi. Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves. “Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,” Says Man Power. ”Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.” Innovative opener ‘The Serpent’ is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge ‘The Sound Of’ EP in summer 2018 and gives further credence to Man Power’s suspicion of his impending super stardom. He takes the ‘The Serpent’ on a luscious and deep trajectory that would make Larry Heard proud. The second standout original is ‘Unse’, a dark stomper with cosmic rays that strike right to the heart of the dance floor. It’s menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking ‘Unse’ in a tougher and more robust direction that will really make you sweat. As ever this is a brilliant and stylistically diverse package from Me Me Me.

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Man Power’s Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins’s originals are backed by stellar remixes from Austin Ato and Kiwi. Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves. “Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,” Says Man Power. ”Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.” Innovative opener ‘The Serpent’ is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge ‘The Sound Of’ EP in summer 2018 and gives further credence to Man Power’s suspicion of his impending super stardom. He takes the ‘The Serpent’ on a luscious and deep trajectory that would make Larry Heard proud. The second standout original is ‘Unse’, a dark stomper with cosmic rays that strike right to the heart of the dance floor. It’s menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking ‘Unse’ in a tougher and more robust direction that will really make you sweat. As ever this is a brilliant and stylistically diverse package from Me Me Me.

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For Me Me Me 14, I’m proud to announce the return of Shit Robot to the label for his first full length EP, following up from his previous contribution to our We We We Charity compilation, and last year’s remix for Forriner. Joining him is fellow label mainstay Edmondson (of Lissoms fame), as well as Vin Sol (Nonplus / Clone) making his label debut, after me wanting to snare him forever due to my status as a Vin Sol super fan! Shit Robot provides us with 2 RAW house cuts. On the A side we have the deep and bumping “Cubed”. For the B he gives us “Rotation” which is equal parts Analogue-Jack to Rave-Synth. Edmondson turns in a typically unique remix, yet again hinting at his background in non 4/4 sounds, and showcasing his unbelievable deftness for sound design. Vin Sol’s remix of Rotation expertly captures the spirit of late 80s house in a way that only the original early pioneers, Vin Sol himself, and a perhaps a handful others seem to pull off legitimately. Also included as a digital exclusive is the bonus track “Shit Robot - The Life To Come”, for that added low slung jazz-house fix.

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Me Me Me is two… and in keeping with the name it seemed that I had no choice but to put out what is only my second ever release on my own label since launching with the debut release “Tachyon” back in 2016.
(It’s also the labels 13th release too. Spooooooky) So here it is, a double A Side... Side A is “Valhalla” which attempts to be as majestic as the name suggests. Side AA has “Fidelity", which is me channelling big room house as much as I can, while trying to keep ahold of whatever heart strings I can tug on. I’ll let you judge if I’ve achieved what I’d set to do with either.

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Full disclosure...I changed the entire release schedule to jam this record in this year. When you listen, hopefully can see why. From getting the demos during my breakfast, the record was agreed and in the schedule by the time I’d finished my dinner. Currently if you cut Austin Ato I believe he’ll bleed an amazing record. This record swings between a peak-time hands in the air pink loveheart vibe, hot and heavy classic sample based house, and some real basement orientated machine-made jacking house. Its like a quadruple A Side release, and I personally find it impossible to pick a favourite on here.

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Vyvyan wants to keep his real identity secret, which is something I can’t help but respect (I did the same for a couple of years). Without the context of personality, the music really does do the talking, and in this instance it has a lot to say. Both original tracks on offer here are unashamedly dance floor focussed disco / techno mutations, and they’re both as compelling as they are fun. For remixes we’ve drafted in Paul Woolford, a genuine UK legend, who by this stage is irrefutably nestled in the top tier of the British electronic music Royal Family. His remix perfectly displays the unconventional wit, and mastery of groove, that’s propelled him to where he is today.
I imagine its the only track we’ll ever release that begins on a breaks and baseline assault, and ends on samples of farmyard animals. Finishing off the release we have a remix by my dear friend Christophe (Futureboogie) in advance of his own artist EP on Me Me Me later this year. Christophe skews the original’s frenetic rhythms in to a vintage sounding bumping piece of machine driven house with an Italo-esque twist, which is as good as this description sounds

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“Edmondson first came to my attention with his Lobster Theramin distributed release, Flamingo Tripper, on his own label “Lissoms”. Or so I thought… Turns out he was actually a guy who used to serve me in one of my favourite pubs in Newcastle. Back in those days he was a dub step / drum and bass kid, and as per the trend with all of those guys, he’s now showing the house heads how its done, with a much keener feel for sound design, groove and a better ear for a sample than 90% of us lazy people who cut our teeth on a 4/4 beat. Edmondson (or Sean as I did know him... and how I know him once again) is really one of the most exciting producers out there right now for me, and I couldn’t be happier that we’ve reconnected and he’s kindly allowed Me Me Me to present some of his amazing music.

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From Man Power: "I'm going to try not to gush too much about the fact that 'Me Me Me' has Raj Pannu's first ever record, but you have to understand that he's DJ royalty to someone from where I come from. From his residencies in Newcastle in the Early 90s, touring all over Europe, playing with the likes of Gilles Peterson, Jazzanova and James Lavelle to his move into turntablism in the late 90s playing one on one with DJ Craze, A-Trak and Q-Bert. All the way up to the last decade and his time spent touring the world for 5 years as part of Coldcut, working with institutions like the BBC and Ninja Tune, and just generally being an absolutely mind bending DJ playing with people from all over the spectrum, such as Richie Hawtin, DJ Kentaro, Jamie Lidell, Kode9 and more.... and now he's decided to release his first record... With Us! As you can imagine for someone with such a varied musical background, FSOP is hard to pin down. I played it to a friend and they said it sounded like Photek covering Pink Floyd, which is the closest approximation I've heard of it, I guess. It's techno, but steppy, and super musical, and dark, but uplifting. Above all, it's just really special.I couldn't not give the record a full side to itself, and for the remix we've found the perfect pairing with an interpretation from Cosmin TRG (who I met at a festival, and who I instantly hit it off with after finding our shared love of Guiness and Sarcasm). Cosmin chokes out all of the light with a cut of raw, skittering Paranoid Techno. Providing the ideal balance for both sides of the record. Raj has also provided us with a Dub Mix which we're releasing as a digital exclusive. The dub narrows the dancefloor focus, without losing the drama of the OG. Reading this, you can probably tell how excited I am about this record."

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Elliot Adamson knows how good he is, which is equally as daunting as it is impressive. I’ve known him since he was the eager beaver Barman at a place I’d play regularly in my hometown, who used to try and stick his demos under my nose, and now he seems poised for world domination with a who's who of the worlds biggest DJs singing his praises. I’m so pleased I listened to those demos when I did. Elliot has a startling breadth and depth of taste for someone of such tender years (although to be honest, people only mention other peoples youth when they feel like they’re getting old themselves). The EP Elliot has provided for Me Me Me covers a range of vibes which can be traced through mid 90s house, millennial techno and that current and contemporary feel that we’re all still struggling to name adequately. Elliot is a real talent and I couldn’t be happier to provide a platform for what I feel is his most esoteric work to date, and a worthy showcase of his real capabilities.

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The next release on Man Power’s Me Me Me features two emotive leftfield house cuts from DSC, the newly minted production alias of Desert Sound Colony, aka Liam Wachs, the man behind the newly launched Holding Hands record Label. Wake up, is a sweetly melodic track of pulsing house, with Coming Round providing a pumping and muscular leftfield techno counterpoint. On remix duties Man Power invites north east upstart Elliot Adamson to remix Wake Up, before his full length EP coming up next on the label. Hotly tipped by everyone from Jackmaster to Jamie Jones, Elliot is a superstar in the making, and relishes the opportunity to flex his more esoteric muscles with a slice of deconstructed electro that hints at the startling musical breadth, which the young producer is only beginning to reveal. Coming Round is remixed by none other the legendary Rex The Dog, who is not only an artist who Man Power has huge admiration for, but also someone he is pleased to call a good friend. The trust between the two artists shines through, as “Rex” provides possibly one of the most unfettered dancefloor tracks of his career.

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Is? Frank Butters? a new artist risen out of nowhere via incendiary releases on his own Too Many Squares label, or is he perhaps an established artist taking a new direction? The only concession to this question is that he’s someone ?Man Power? has known a long time, and one of his favourite new artists. Frank's ?Cult Of Glamour? focuses his early 80s proto-house aesthetic, with two machine driven cuts at differing tempos for opposing late night moods. For remix duties, Me Me Me asked all time hero ?Andrew Weatherall? to deliver his own version, and deliver he does with a swamp rock lead bellied organic take of ?Make It Right? (as well as a digital only instrumental version). To close off the package Man Power has enlisted Not An Animal Record’s mainstay ?Ess

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Pale Blue is the new alias for Mike Simonetti, one of NYC’s most infamous underground producers, paired with the vocals of Elizabeth Wight. The duo’s seductive double sided EP Comes Home / Have You Walked Through This Night is remixed by breakthrough Spanish producer Pional on Man Power’s Me Me Me label. Have You Passed Through is raw and daring, its female vocal reminiscent of innovative early electro, this is a intoxicating late night anthem of leftfield electronica. Its lyrics are taken from the film The Thin Red Line, a movie about mans destruction of nature, his world and himself. Come Home is equally alluring with a dreamier narrative, and Pional’s remix is stripped back and effortless. “For these two songs, the inspiration is coming out of the darkness that is inside all of us. It sounds heavy and overbearing, but dance music is the ideal music for escape. It fits perfectly into the Pale Blue agenda. This music was made for a small, dark crowded dance floors, with low ceilings and high hopes. Humanity is bombarded with suffering and pain at every turn - it’s almost like we thrive on it. But we deserve better. These two songs represent part of that struggle- moving towards the light. Take your frustrations out on the dance floor. Throw it all away for the night. The b-side is about coming out of darkness, coming home. Finding euphoria in love and security in one another. Feeling lost in the best way.” Pale Blue

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“Soak by James Hadfield, featuring Danny Linton, is one of the main reasons for the launch of Me Me Me and a record I love so much I have done my first rem ix for the label,” explains Man Power. Further remixes from Axel Boman and Bird Of Paradise cement a stellar third release on the burgeoning Me Me Me imprint. Soak is a distinct and uncategorisable piece of electronic music, with a rich thread of emotion running through it so strongly, it remains within each remix, albeit distilled in different ways. Fellow North Eastern Englishman Bird Of Paradise (Correspondant / HAKT) turns in two differing atmospheric interpretations of the track (one appearing as a digital exclusive), while Studio Barnhus supremo Axel Boman brings his own inimitable style to his rework, and Man Power’s delivers a dreamy and forlorn infusion on this magnetic record.
James Hadfield has been releasing music over the last ten years under several guises including Lizards and Elizabeth Collective, although remains an elusive figure in the bubbling underground house and Balearic scene. Soak sees him teaming up with Danny Linton , best known as post dubstep producer Funk Ethics. Man Power’s ear for the more captivating and experimental side of electronic music is being championing through Me Me Me, putting discerning dance floors to the test through its releases. 2017 contributions include Mike Simmonetti, Chida, Fort Romeau, Hammer, Rex The Dog, Daniel Maloso and many more .

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