From Sudan. Lives in New York City.

New album 'We Belong' out April 5th!

WE BRING U TOMORROW'S BLACK MUSIC TODAY/
SOUNDS OF THE UNIVERSE//
WE ORIGINATE, NEVER PIRATE///

Bookings: matt@thepool-london.com 
Promos: promo@gregwilson.co.uk 
DJ Dates: https://blog.gregwilson.co.uk/upcoming-dj-dates/
Greg began DJing in 1975 and is regarded as one of the most important figures on the UK dance scene. He enjoyed hugely popular residencies in the early eighties at Wigan Pier and Manchester’s majorly influential Legend, having originally started out in his hometown, New Brighton. A pioneer of mixing in the UK, he became the first ‘dance music’ specialist hired for a regular weekly session at Manchester’s now legendary Haçienda club in 1983. Greg was instrumental in breaking the new electronic, post-disco records coming out of New York, a sound he has dubbed ‘Electro-Funk’.

In 2003 he set up electrofunkroots, a website documenting this crucial era in the evolution of dance culture. After a two decade hiatus from the booth, he returned to DJing and soon welcomed bookings throughout Europe and, subsequently, worldwide.

Greg was the first DJ to mix live on British TV, putting together the first UK radio mixes of their type for Piccadilly 261 in Manchester and showing a certain Norman Cook (later Fatboy Slim) how to scratch.

Nominated by DJ Magazine for outstanding contribution, and also named amongst their top twenty remixers of all-time, Greg’s remix credits include Grace Jones, The XX, Groove Armada, Bryan Ferry, Confidence Man, Gilberto Gil and Simian Mobile Disco, whilst he’s edited tracks by A Guy Called Gerald, Talking Heads, O.M.D., Electronic, Imagination and Missy Elliot.

In January 2009 Greg’s reputation was further enhanced when his Essential Mix on BBC Radio 1 received almost universal acclaim and was selected as one of 10 classics that spanned the show’s near 17 year history.

Greg’s Blog, ‘Being A DJ’, was launched in June 2010 for observations on various aspects of club culture now an online touchstone for an ever-increasing amount of dance enthusiasts and aficionados.

In August 2010 he co-curated areas at the inaugural Vintage Festival at Goodwood, which was named ‘Best New Festival’ at the UK Festival Awards.

He has produced a series of documentary podcasts, Time Capsule, Random Influences and Early 80’s Floorfillers, as well as the long-running blog series, Living To Music.

Greg has given talks on music and DJ culture at a number events at venues The Tate Gallery in Liverpool and London's Southbank and Institute Of Contemporary Arts, whilst in 2013 he was invited onto a panel alongside legendary figures Nile Rodgers and Giorgio Moroder @ ADE in Amsterdam. 

In 2014 he unveiled the multi-media label Super Weird Substance, focusing on recording and live events. In 2015, the label released 8 vinyl singles, brought together in the 2 CD comp, 'Greg Wilson Presents Super Weird Substance'. September 2015 saw a memorable Festival No.6 Happening in Portmeirion and Greg rounded off the year with the Liverpool-based celebration of the 40th anniversary of his first club date in 1975 as well as being presented with DJ Magazine's Industry Icon award.

Greg launched his Credit To The Edit club collective at 2016's Festival No.6 and since then has taken it to Liverpool, Berlin, Brixton, Bethnal Green and finally back to Portmeirion for Festival No.6 2017.

2017 saw his label host the epic 14 Hour Super Weird Happening at Liverpool's Florrie, following a mixtape collaboration with Alan Moore, who also appeared at the Happening, whilst it also saw the digital release of The Super Weird Society's 'Gone With The Vibe', released the following year on the first Substance Select 12" vinyl alongside 'The Ghosts Of Watling Street', 'The Best Is Yet To Come' and 'Summer Came My Way'. 2018 also saw the release of Vol.3 in Greg's long-running Credit To The Edit compilation series.

After a handful of further releases, the label was put into hibernation with the onset of covid. Diversifying, ‘Greg Wilson’s Discotheque Archives’ was issued during 2020 lockdown as a limited run paperback, with more books, both Wilson’s own projects and by other authors, now planned.

Charles Lindsay is a multi-disciplinary artist interested in technology, eco-systems, semiotics and signaling. He creates immersive environments, sound installations, sculptures built from salvaged aerospace and bio-tech equipment, videos and photographs. 

Educated as a geologist Lindsay is the SETI Institute’s AIR program director, a Guggenheim Fellow, recipient of the Robert Rauschenberg Residency, Fellow at the Nevada Museum of Art’s Center for Art and Environment and the innovator behind OSA EARS: a project designed to deliver real time sound from one of the world’s most bio-diverse rain forests to anyone anywhere with internet. Lindsay’s work has been profiled by WIRED, Motherboard, ARTonAIR.org, Viralnet, NPR and CNN International. 

At SETI Lindsay collaborated with astrophysicist Laurance Doyle - who employed information theory and algorithms to prove that humpback whale communications exhibit syntax. “CODE Humpback” references this research through sculptural audio / visual works, combining ideas about encrypted signals and inter-species communications. “CODE Humpback” debuted at the Bolinas Museum (2014)and showed again at MassMoCA in 2017.

Lindsay received a Guggenheim Fellowship (2010) for “CARBON” - a hybrid process synthesizing photography and drawing. “CARBON” harnesses the language of high resolution scientific imaging to render ambiguous the micro and the vast, the organic and the digital, the real and the alien. The large scale visuals are altered through sensor feedback and modulation to create subtly responsive art works. “CARBON IV” was shown at the LED LAB NYC (2014.) 

Lindsay has created and directed three live music shows, for which he plays six string electric cello, electronics and combinations of voice, continuum, processed field recordings and electric guitar. All incorporate his visuals, with improvisational music developed through collaborations. The Electrosense of Paddlefish was made in response to water issues in the American west. It was created and performed with David Rothenberg for Ear to the Earth at the Frederick Lowe Theater (2010.) Trout Fishing in Space imagines an off Earth habitation. Collaborators included Billy Gomberg, Thenmozhi Soundararajan, Dan Snazelle and David Rothenberg. It was performed in Woodstock at CPW (2012.) NEAR(ER) imagines alternate modes of consciousness and involved video artist Chen Serfaty. NEAR(ER) was performed at USC's Rhythms + Voices performance series (2013.)

Lindsay is developing several new works including: “the Sound of a Quantum Computer Thinking” from his recordings at NASA Ame’s Quantum Artificial Intelligence Lab and “Hope Island” from his oceanic work north of Vancouver Island. “Ecotone” envisions a mobile space in which to decontextualise live sounds from OSA EARS so they are experienced as though in an off earth / post earth environment. His 'Field Station' installation showed at MassMoca in 2016/2017 and then morphed and travelled to the Des Moines Art Center and the Akron Art Museum. He is currently working on several projects in China.

Recent lectures include "Anthropocentric?" for RISD's Digital + Media department, “Destination Unknown: Aliens, Art and Consensual Reality” at Rhodes House, for the 2014 class of Rhodes’ Scholars and ‘Conversations on Media Culture and Practice’ at CalArts Center for Integrated Media. Lindsay presented at Moogfest 2014, the California Academy of Sciences, Stanford’s Department of Art and Art History, 100 Year Starship Symposium (DARPA), USC’s “Visions + Voices” performance series, SwissNex, the American Museum of Natural History, Mountain Film in Telluride, The School of Visual Arts, Pratt School of Art and Design, the Open Center in New York, IDEA CITY in Toronto. Chronus Art Center Shanghai, and at The Hat Creek Observatory for SETI.

Jane Lerner is following