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Welcome to the Meteor Strike podcast where we talk about interesting Meteor packages and other community contributions that make the Meteor JavaScript framework great.

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New album: 'Imagine This Is A High Dimensional Space Of All Possibilities' out 31/03/23 via Border Community. www.bordercommunity.com

For Holden & Zimpel bookings please talk to Naomi at Earth: https://earth-agency.com/artist/james-holden/

Manjumasi · Listed · Seven Villas · Cityfox
Kindisch · Everything Will Be OK · Cosmic Society
Booking: gunita@listedbookings.com
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Intricate grooves, dreamy textures, playful whimsical bounce. Over the course of an electronic music obsession more than 20 years strong, Mark Slee has evolved a deep musical style that reflects a unique personality, blending intuition and introspection with a methodical approach to production and curation.

Fully committed to digging the troves of modern dance music, Slee aims to uncover releases that stand out. His monthly mix show on Proton Radio showcases his discoveries, with over 100 mixes presented in the past decade. In 2016, Slee joined forces with musical partner Atish to form the label Manjumasi. Debuting with his own Nocturne Belle EP, Manjumasi celebrates quirky dance music that explores new territory without forgetting the dance floor. Beyond Manjumasi, Slee's original productions and remixes have been released on such imprints as Cityfox, Seven Villas, Kindisch, Everything Will Be OK, Sound Avenue, Lost Diaries, Cosmic Society, Magician On Duty, Nugget, Where the Heart Is, Proton Music, and more. In addition to regular appearances on his San Francisco home turf, Slee's style has earned him DJ sets in notable locales, such as Kater Blau and Sisyphos in Berlin, Cityfox in New York, and Robot Heart.

Since 2016 Slee has also been developing immersive, spatial audio-visual production tools for systems of up to 32 channels via Envelop. Notable live performances with Envelop include MUTEK.SF and FORM Arcosanti.

Influences: Jimi Hendrix, Yo La Tengo, Wilco, Radiohead, The Rolling Stones, Al Green, Sly and the Family Stone, Stevie Ray Vaughn ... this list could get very long so i'll give it a rest.

Derek Fairchild went to high school a block from Haight & Ashbury. He studied the blues more than algebra. Robert Johnson, John Lee Hooker, B.B King, and Albert King were his favorites. But Hendrix and Stevie Ray Vaughn played a major role as he started gravitating towards a psychedelic sound that is unique to San Francisco and the Haight. his fate as a musician was sealed on August 20th 1983 when he and his guitar player friends got tickets to see yet another southern blues guitarist [oh no, he's white?] play at The Stone on Broadway. The four of them packed in and managed to crush up to the stage. When Stevie Ray Vaughn sidled out in his snake skin boots, feathers, and beads, hot boxing a cigarette and committing what seemed to be felonies against his pre-historic Stratocaster ['59] Derek knew that nothing would ever be the same. He and his high school friends, all of whom were competitively studying the guitar and the blues, walked out stunned. Silent. There was nothing to say. After the initial shock of that night wore off, Derek decided there were two options. Double, no, triple down and do whatever that man SRV had done to achieve his sound … or quit. Nothing in-between seemed worth doing.

Decades later after years of working out of Manhattan touring, doing shows, sessions, musicals etc. with some of the world’s finest musicians, Derek made his way home to San Francisco and started Flat 12 with Andrew Laubacher and Oscar Westesson, two very busy and accomplished musicians in their own right. 

Since Andrew is going all rock star on us [seriously congrats Andrew - we miss you already], we are really pleased to announce that Bennie Murray will be joining us on drums. He's Aaron Neville's go to guy when he's in the bay area, along with many other greats. I've had the great pleasure of playing with some of the worlds best drummers and Bennie is right up there atop that list.

Let us not worship the machine. Let us make it stutter with contradictions. 
Remove its filters and let it dream of rust, sex, and silence.

A lot of people love music. A lot of musicians love music, despite it being their job. After all, how many bin men love black bags? How many salesmen love their target? For musicians, work means another day in the studio, another set of A&R men to make happy, another day knowing you‘ve sold your soul for a strapon! Working in music is poisonous. Yet a lot of musicians love music anyway.

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