Gerald Simpson, a Manchester Moss-side born who was working in MacDonald’s, created the defining vinyl for the UK Acid House in 1988: ‘Voodoo Ray.’ That piece of musical art made out of a simple sampler, a 303 bass synth, and a rudimentary drum machine gave him the status of technical genius. It also cursed his entire musical career.
Miscarried through the savage industry, he tried to replicate the success with “Hot Lemonade (1989),” but he suffered under-production. As a central figure of the Manchester dance scene, he worked for 808 State on ‘Pacific State‘ and remixed Stone Roses‘ ‘Fools Gold.’ Being signed by CBS, he released “Automannik” in 1990, a minimalistic work treated in the significant company standards which didn’t reach the appropriate audience, far from the taste of his developing futuristic dark sounds. Infructuous “High Life Low Profile” took Simpson back to the Hardcore, to the basics of drum programming, to create two landmarks for the irruption of drum’n’bass as a genre: “28 Gun Bad Boy” in 1992 and the definitive “Black Secret Technology.”
Released in February 1995, this quarter of a century seems not affecting it at all, keeps it inalterable, as fresh as the primary proposal: To capture the time for the foundation of a new musical paradigm, ready to grow and evolve. Nothing to add to but his own words.