DL link broken? Go here: https://www.patreon.com/fatherfunk
Bookings: james@servintalentagency.com
tour dates & stuff 👇
https://sleekbio.com/fatherfunk

Father Funk is on a mission to reinvent funk for the bass generation. His genre-bending, boundary-breaking style fuses the soul of live music with the power of modern bass, taking him from underground bootlegs to festival main stages across the globe. With his self-produced, self-released album Funk The System on the horizon, he’s proving you don’t need a label or a formula to make music that truly moves people.

MANAGEMENT AND REMIX ENQUIRIES - info@justinrobertson.co.uk
 
DJ BOOKINGS - caroline@klsbookings.com

Song-writer, creator of cosmic disco dub, Balearic love and bespoke techno.

Paul Reynolds 
Resident for Hi Ibiza and Ushuaia Ibiza
Part owner of Melon Bomb Ibiza

MGMT: info@kaleidoagency.com
🇮🇹 BOOKING: mauro@wave-up.net

BIO:

Hailing from Verona, Italy, Mauro Venti is undeniably one of House music's brightest talents. Renowned for his unique sound palate, Mauro's studio efforts have seen him sign to some of the most respected labels globally and collaborate with some of the industry's biggest names.

Over the last decade, Mauro's tracks feature a wealth of sonic influence from on-trend sounds combined with a desire for cutting-edge underground frequencies. His work has featured on Spinnin' Deep, STMPD RCRDS, EMI, Create Music, Hot Creations, Repopulate Mars, Toolroom, REALM, Relief, Glasgow Underground, Dirtybird, La Pera, Sola, Techne, Night Service Only, Desert Hearts, Circus Recordings, Snatch! Records, Kaluki, Nervous - amongst other.

Aside from his solo productions, Mauro has also released music with Green Velvet, Elrow resident George Privatti, Kiss FM Radio Host DJ S.K.T - laying further testament to the appreciation of his work from celebrated industry figures.

The appreciation for his talent is further evidenced by appearances on some of top international radio programmes such as Martin Garrix's STMPD RCRDS Radio, Spinnin' Radio, Toolroom Radio, Downtown Tulum Radio, Solardo's Sola Radio & The Spot, Nameless Radioshow on m2o and DJ Boris' Transmissions Podcast.

He has played in clubs such as: Heat Sion (Switzerland), Rocket Club (Milan), Estasi's Club (Sardinia), Forum Station (Barcelona), Club 44 (Milan), Tukulka Sauvage (Teramo), Kursaal Club (Cervia) - to name a few.

Mauro is coming into his own as a globally recognised artist with his sights set on touring internationally and bringing his renowned musical style to the masses.

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.

This site is a reflection and in some ways a chronicle of my career in Dance Music .... ALL the mixes are live and mainly all from vinyl .... There are a few which are a mix of Vinyl and CD .... ALL the remixes with the exception of "BREAK FOR LOVE" are from my time as a well known Remixer and Producer. All the ACIDISCOTECH mixes are samples of how I play now in a bar setting although there is some club crossover. ACIDISCOTECH means a mix of sounds and styles and time periods which when combined express the energy  and passion I feel for music ... I FIRMLY BELIEVE IN THE CAPACITY FOR PEOPLE TO OPEN THEIR EARS, MINDS AND HEARTS TO ALL DIFFERENT TYPES OF MUSIC AND ENJOY IT FOR WHAT IT IS .... WITHOUT APPLYING NEGATIVE ENERGY BASED ON WHAT THEY ARE BEING TOLD IS COOL. FUCK POLITICS AND TRENDINESS ... LET'S DANCE !      


MANAGEMENT- nick@machine-music.com
DJ BOOKINGS- martje@decked-out.co.uk

THE DEADSTOCK 33'S
  ‘A kind of rural backwater psychedelia’ is how the Deadstock 33 describe themselves. From the restless and productive mind of Justin Robertson, it’s as good an entry point as any to a world both bewitching and new.
  A year in the making, Deadstock 33’s debut album takes a real breadth of sounds and influences weaving them together into a live sound that sees  Justin heading off into uncharted sonic waters.
   Justin Robertson is no stranger to live music having played tours and festival with his band Lionrock and pop art renegades Thee Earls. With Deadstock 33 however he’s turned  the club elements that he’s best known for into a dynamic sound steeped in a stranger, timeless vibe - like Arthur Russell producing the fractured fragility of third album Big Star.
  Over ten tracks the result is a record of hopped-up murder ballads with a slightly Balearic feel that crosses swords with slow motion grooves that forge a link between the acid of both San Francisco’s Haight-Ashbury and Chicago’s Trax. 
  “I’ve met a lot of people over the years touring with bands,” explains Justin. “And I’ve been making music long enough to put aside any notion of genre or fashion. The Deadstock 33's has been in my head for a long time but only ever in the abstract until now. Working on this album has transformed the way I write and given me the opportunity to head off into jaunty Balearic pop as well some darker musical spaces. I’m really pleased with whats been achieved so far.”
  Lyrically the Deadstock 33's explores a similarly unique territory. From tales of the to MPs frolicking on Hampstead Heath,to a church going couple who spend  their sunday's despatching parishioners in the woods, it’s the dark stuff make no mistake,but There are also chinks of light in the dark; with life affirming psychedelic pop and good time acid disco stirred into the blend.  What unites all the songs however is an urge to get under the skin of society and shine a flashlight on what is found, turning the evidence back into a remarkable musical document that mirrors our weird wide world.
  

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