Repress!

In the summer of 1989, when Trip City was first released with a soundtrack by A Guy Called Gerald, there had been no other British novel like it. This was the down and dirty side of London nightclubs, dance music and the kind of hallucinogenic drug sub-culture that hadn’t really been explored since Tom Wolfe’s The Electric Kool-Aid Acid Test. Maybe this is why Trip City is still known as “the acid house novel” and an underground literary landmark. More

For a number of years now, A Guy Called Gerald has largely made music only for
himself. But this special EP is borne from Gerald’s unique and long-lasting
friendship with Analog Room founders Mehdi Ansari, Siamak Amidi and Salar
Ansari. They first met in 2013 when Siamak booked Gerald to play his Analog
Room party in Dubai – a leading underground light in the UAE’s then emergent
scene. Away from the glossy VIP hotels and expensive bottle service parties
typically associated with Dubai, Analog Room only deals with quality bookings of
the caliber of Move D, Roman Flügel, Moritz Von Oswald and the likes. Gerald
immediately fell in love with the party. Its strict music-first, no-nonsense policy
appealed to him and he’s returned many times over the years.

By then, of course, A Guy Called Gerald’s musical legacy was already assured. The
Manchester icon is best known for his 1988 hit single Voodoo Ray – the
touchstone of his hometown’s dawning acid house scene. As well as being an
early member of 808 State, Gerald embraced breakbeat and jungle, ran his own
Juice Box Records label and worked with the likes of Columbia, Perlon, K7! and
many other vital labels. His skills on everything from synths to keys, samplers to
drum machines stood him apart then – and still do today.

“This release is based on a real friendship,” Gerald explains. “I feel part of the
Analog Room family. Back in the early days, that’s how it was. These days, it’s like,
‘Oh, you’re famous, let’s do something.’ I’m not interested in that. I’m not
interested in being a celebrity or living that life. I’m the same as I was 30 years
ago, all I care about is the music. With Mehdi, we have spent hours jamming in
private in Dubai, we have partied together. We’ve vibed together for so long and
he’s shown me new parts of the world I should be making and playing music in,
away from the trendy scenes in other places. So this is an exclusive just for him.
I’m not looking at doing anything else with anyone, and the music is just about
celebrating individuality rather than trying to fit in anywhere.”

When Iranian-born Mehdi decided to start Moozikeh Analog Room – which
translates from Farsi as “the music of the Analog Room” – Gerald was one of the
first artists he asked to release on the label. It might have taken some time for
Britain’s Dirty Little Secret to materialize, but boy it’s been worth the wait.

Says Mehdi, “The magic comes through proper relationships and friendships.
That’s why Analog Room worked. It was a great room, an amazing sound system,
with amazing artists doing their thing. Bookings were so on-point because we had
agents around the world, on the dancefloors, spying up artists who were killing it,
and Gerald was one of them. He was a perfect fit from the first gig and our
friendship grew from there. He’s always been very kind to me. We have this
common language of music without any bullshit, and that is where this EP comes
from.”

The EP is a mixture of different things. Some of it is unreleased material from the
vaults revisited, some of it is brand new. It opens up with the devastating Old
Skool – a writhing, physical track with naughty bass. The drums hark back to
Gerald’s early days of making jungle but reimagined through a modern
perspective. As the synths spray about the mix and the percussion bounces atop
the jostling drums, muttered vocals draw you in deeper. Sugoi is an experimental
track that fuses ambient synth design with the spacious and eerie atmospheres of
jungle. Nimble drums get you on your toes as the spangled synths twist and turn
in all directions. It is a thrillingly original, impossible to define track.

Flash Fight is built on a captivating rhythm that sits in the area where house,
techno and jungle intersect. It is warm and cavernous, physical yet elegant as it
bounces on rubbery kicks and lithe synths roam in and out of earshot. Perfect for
those sweaty, cozy back rooms, it’s another masterclass from Gerald. Closing out
the EP is False Religion, a deep-rooted house track with elastic drums and
haunting, wispy pads. As a subtle acid bassline rises and falls way down below,
Gerald’s own mystic whispers leave listeners hypnotized.

Following on from Analog Room co-founder Salar Ansari’s debut release on the
label, this EP is a statement of intent. More releases will follow from some of
Analog Room’s most frequent international guests, but only when the time is
right. Moozikeh Analog Room is a label of love, one that is focused on putting out
the best possible music at all times rather than chasing hype.

A timely reminder of why A Guy Called Gerald is one of the world’s most enduring
electronic artists. More

Bosconi is proud to announce the arrival into the family of one of the greatest legend of house music, the oldskool hero A Guy Called Gerald. The release randomly arrives in coincidence with the definitive closing of another legend, the place in berlin that has been a symbol for years of the cultural renaissance of the german capital after the wall, the Tacheles. When Gerald just moved to berlin, he got his house and his studio inside that very inspiring and artistic place, and as a tribute and homage to his legendary figure, some mysterious writer draw G's face on the right side of that building with the shamanic enigma above that giant mural "How Long Is Now", an existential sigh or question that perfectly sums up the uncertain past, present and future of one of Berlin's most important initiatives, as the Tacheles was, and as the things of our life that we love, as the music, can be, uncertain…But for sure this 3 tracker vinyl is real and it will last for long in our bags, these are 3 deadly club weapons by The Master between bass music, micro funk and soul excursions: A1 gives the title to the EP and it's subliminal dark and psychedelic after-hours dope session, while on B1 there's the shady and sexy atmosphere of "Groove of the Ghetto", a driving and funky house tune sustained by an ultra fat synth bass and enriched by soulful vocals and deep pads, while on B2 the EP ends wih the brutal Uk bass bonus beats monster entitled "202". Serious Stuff. In memory of Tacheles and the good old days. More