An iconic name in dance music, A Guy Called Gerald stands out for consistent innovation, excellence and refusal to compromise. A Guy Called Gerald kick started Europe's acid house frenzy with his '88 classic 'Voodoo Ray' and 'Pacific State' (as part of 808 State) and went on to lay down the blueprint for jungle / drum n bass.

Nine albums and 25 years of independence later, he continues to push the boundaries of electronic dance music touring worldwide bringing his "true school" flavour to a world overloaded with pop pap. Although his remixes are relatively enviable including the likes of David Bowie, Cabaret Voltaire, Black Uhuru, Finley Quaye, Lamb, Tricky and The Stone Roses, it is Gerald’s own productions and refusal to plough anyone’s furrow but his own which has marked him out. A Guy Called Gerald is responsible for the birth of British dance music as you know it today and continues to explore what is possible both in the studio and in the club with his "Live in Session" performances.

"I have decided the only way to give music to the people is raw and straight from the true school. I don't have to hide behind any trend or gimmicks. ie. analogue equipment and vinyl fetishism. I'm sorry to say but I still feel like I'm blazing the way forward only because everyone seems to be stuck in "retrogression" mode. Maybe they need a stop / start to get them out of the loop? I refuse to compromise when it comes to my sound. I realised that I'm the only real deal within dance music when I found it was impossible for me to sell out. This is the True School." (A Guy Called Gerald)

"UK club culture has many people to thank for transforming the imported sound of America into the biggest youth movement my generation has experienced, but nobody else has redefined it so much with the character and soul of Britishness, creating music for both the feet and the head, and indelibly altering our cultural landscape." Joe Roberts, DJ Magazine

Background to the album

The entire track was performed by Gerald live (in the Big Room at Real World Studio) from two laptops captured into a Pro Tools HD system. Audio resolution was high throughout this project with a 24 bit resolution and a 96kHz sampling rate maintained from creation through to capturing the performance. A few additional sounds made it onto this album that were taken from 1986 – sampled from a vinyl release and incorporated into this composition.

Gerald describes the concept and process:

“I am fascinated by the science of sound. Silent Sound Spread Spectrum (SSSS) or S-Quad or Squad is allegedly a technology used by the US Department Of Defence that uses subliminal programming carried over ultra-high frequency broadcast waves. With this system, planting inaudible messages directly into the subconscious becomes very easy to do and everyone is susceptible.

This composition is about 50 mins and it follows no specific style. It should leave the listener refreshed and relaxed.

It was recorded using a system that enables you to keep full definition at low volume.

I started this project using two separate computers. Each computer has its own soundcard, which was connected to a Pro Tools system, which was connected to an SSL desk. I used Propellerheads Reason to create the tracks. I used the vocal room of the Big Room Studio at Real World Studios.”

[Author: Bowers And Wilkins]