Since the late 80’s, Manchester native "A GUY CALLED GERALD" born Gerald Simpson, has proven to be among the most innovative modern music figures. His influence is international, and through his early experimentation with techno and acid house to his groundbreaking contributions to drum & bass, Simpson’s art and craft has perpetually evolved.

In early to mid 80’s Manchester, dance floors in clubs like Legends were vibing to jazz funk, jazz fusion and electro and 13 yo Gerald took full advantage of the club life. When electro funk and b-boy culture hit the UK he left college to immerse himself in the music. New sounds from Detroit and Chicago had begun filtering into Manchester's import record shops and, inspired, he began rigging analogue and drum machines up together making his own formations.  His first creative efforts were in The Hit Squad, a Manchester hip hop collective. They released the single Wax On The Melt before three of the members, Gerald, Graham Massey and Martin Price formed 808 State.  It was a brief collaboration resulting in one album ‘Newbuild’ and their biggest hit Pacific State. But by then, Gerald had already gone solo, having unwillingly scored a chart hit with the seminal classic Voodoo Ray, the track to put British House music firmly on the map.

In 1992, following a brief period signed with Sony and resulting in his 2nd album Automannik, he began releasing a series of genre defining records on his own Juice Box Records. Juice Box Records opened for business in 1992 and closed six years later after 33 releases.   It was responsible for releasing a series of seminal records that provided the blueprint for what was to become jungle then drum n bass. The first singles were compiled and released on the LP 28 Gun Bad Boy.  If there was a blueprint for what would transform rave into jungle, then this is it. He followed up in 1995 with the critically acclaimed Black Secret Technology LP incorporating Goldie and the vocals of Finley Quaye.  A busy period followed DJing around the globe spreading jungle sound, touring with Tricky and working with the likes of Flora Purim and David Bowie. In 1998 he moved operations to New York.

In 2000 came Essence (!K7 Records), an experiment in transforming the stereotypically aggressive drum’n’bass sound into soulful arrangements. It featured musicians such as Lady Kier, Louise Rhodes (Lamb), David Simpson and the singer/songwriter Wendy Page. ‘A perfect synthesis of Gerald’s rhythmic technique and soulful drum’n’bass, … a triumph’. The Guardian. He took a live band on the road in 2001 and toured the US and Europe.  Other projects followed; a remix for the soundtrack to the movie Requiem For A Dream and Black Gravity, a collaboration with Bill Laswell and Herbie Hancock.

In 2002 he moved back to Europe and disappeared deep into the studio.  His 7th LP To All Things What They Need was released January 2005 on !K7 Records.  Recorded between London and Berlin the atmospheric album featured the poetry of Ursula Rucker and long time collaborator Finley Quaye.

Now in Berlin, he launched his own labels, SUGOI and PROTECHSHON in 2005 with a 12” released on each – Flo-ride and Is Man In Danger.  He released Blow Your House Down Remixes on Split Recordings and a collaboration, Time To Jak with Benno Blome on Sender.

Which brings us to the new album.  The appropriately titled Proto Acid - The Berlin Sessions is an infectious 71-minute set recorded live.  Drenching Detroit-styled techno in sparkling electro, the album's 24 raw club-oriented tracks are all new and meticulously mixed in one long fluid move.  The album is a result of experimentation over the last twelve months at private club sessions where he has literally taken his studio to the people.  No gimmicks, no dj software, just pure raw undiluted music created for the dancefloor.  “It’s the culmination of a dream I’ve had since I started making music, and that’s to take the studio into the club; this album is snapshot of those possibilities.”

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