From spacious, down-tempo disco to Balearic-infused techno, Man Power’s quest to explore the limits of genres has led him to releasing on Hivern Discs, Correspondant, ESP Institute and Permanent Vacation. With the recent launch of his Me Me Me imprint he continues to expand the depths of his realms even further.

Man Power is a figure in house music that we consistently enjoy hearing from. As the production alias of UK born music maker Geoff Kirkwood, the moniker was initially brought into life as an anonymous project in a bid to allow him to explore the limits of genres. From spacious, down tempo atmospherics through to straight up rolling techno, Man Power’s productions took the underground music scene by storm the past four years with key releases on Hivern Discs, Correspondant and Permanent Vacation.

The production moniker first entered the playing field in the early months of 2013 with a combination of Balearic and slow-grind disco tracks accompanied by homemade YouTube edits. The producer’s work quickly attracted attention and got picked-up by some high-ranking tastemakers – one of them being Marc Piñol, of Hivern Discs, who passed them onto John Talabot and Jennifer Cardini.

Things started moving rather fast after that point, securing the release of his debut EP on Correspondant, succeeded by his second EP on Hivern Discs. With both releases being praised by electronic music enthusiasts around the world, Man Power got labelled as – “one of the most prominent protégés on the Correspondant imprint”. Following those releases, on two of Europe’s most prestigious labels, the hype around Kirkwood’s production moniker started to grow rapidly.

Staying true to the project’s reason for existents, Man Power’s following releases on ESP Institute, Permanent Vacation, Eskimo Recordings and Throne Of Blood saw a wide range of shifting sounds, mixtures and feelings, with as highlight his debut album on Correspondant. The self-entitled LP explored the boundaries of the electronic music format. From beat-free soundtracks, over to break-beat pop, further to melancholic, piano-driven house, the album is a perfect demonstration of Man Power’s bid to escape the constraints of one particular genre.

The breadth of styles shows its effect in his DJ sets as well. With his dedication to bringing disparate musical forms together, his sets are lively, unexpected and foremost, exciting. Currently based in Mexico, Man Power holds a residency at the praised Topaz Deluxe in his new hometown of Monterrey and at MN Roy of Mexico City. Although based in Mexico, his global appeal leads him around the world for gigs at esteemed venues like Panorama Bar, The Block and Salon Zur Wilden Renate.

With the launch of his Me Me Me imprint past October, the now Mexican-based Kirkwood continuous to expand the depth of his realms even further. Set to build an impressive music catalogue, the record label is an expression of his tastes, and a platform for music by him and the people close to him who share a similar disregard for any musical context.

The label’s first release came curtsy to the man himself in the form of his “Tachyon” EP, including a single and a remix by Life and Death head honco DJ Tennis. The title track “Tachyon” shows yet another side to Man Power’s already extensive and versatile repertoire. Maintaining his Balearic style, the trance-infused single slowly builds in phase, adding energy, synths and a mystical vocal part, which continue trough-out the length of the 10-minute track. Sounds keep evolving, changing and shifting before reaching its peak. Grab your copy here.

Me Me Me’s second release is scheduled for December and comes from Last Waltz, – Geoff’s collaboration project with Mick Rofle and Lee Foster – including a remix by Red Axes and Nudave. Check out the full EP here. With following releases featuring artists like Axel Boman, Pional, Red Axes, Fort Romeau, Hammer, Rex The Dog, Daniel Maloso, Last Waltz, Mike Simmonetti and Chida, the label is shaping up to be one of our favourite music outlets for sure.

For the first chapter of our new “Straight Forward” feature we had a chat with the intriguing phenomenon about his new born record label Me Me Me, connection to Correspondant and Hivern Discs, and his first visit to Rotterdam coming weekend, where he will play at BAR alongside good friend Moscoman, the 9th of December. Facebook event here.


Welcome Geoff, great pleasure to have you here! What have you been up to recently?

I had a mad summer, then I got married in October, so I’ve been taking time off since September really, with the bare minimum of gigs. I’m doing a handful of dates in December, but the plan isn’t to start touring hard again till the beginning of 2017. It’s been weird turning down so many gigs, but totally worth it to enjoy being a married man without any interruptions for a bit.

Me Me Me may still be in its early days – launching back in October 2016 – but the releases seem to be lining up quickly. Can you tell us what the idea behind starting the label was?

Yeah, I’d been thinking more and more about how invalid the old concepts of genre and classification are, and how that all the modern DJs that I like basically just represent their own personal version of genre. I’ve set the label up purely as an expression of my tastes, so the only defining factor of the records on there is the fact that I love them all.

It’s an interesting exercise, as now I don’t have to compromise with a label boss, it allows me to see what I respond to the most in my own work, and what it is that I respond to in other peoples music. I mean there are still some slight restrictions on the label, in as much as everything on there is for a dancefloor, but myself and my peers make people dance with such a varied amount of vibes and Tempos that it’s interesting to see some common themes form as I sign more and more music.

You introduced the label with your own single “Tachyon”, including a remix by DJ Tennis. Can you talk us true the track? And why did you choose this track as first release?

Now it’s out there I can be totally honest and say that Tachyon is a track I made that I loved, that nobody else seemed brave enough to sign. It’s 11 minutes long, it’s deep, and its weird, which doesn’t make it a safe bet for a lot of labels, so I followed my instincts and put it out there myself, and my confidence seems to have paid off. The record is close to selling out already, it’s had glowing praise from reviewers, and has been played by pretty much everybody I admire.

Whilst listening to “Tunnel Snakes” – track from Me Me Me’s second release by Last Waltz – we hear a similar trance-like, psychedelic disco and industrial electro sound as we experienced with “Tachyon”. Is that your influence in the project, or the particular sound you want to bring forward with Me Me Me?

I’m firmly in the camp that believes DJ-ing to be a form of mass communication with the crowd that’s in front of you. There’s a lot of things you can communicate when you play, and a lot of people do it on a very visceral tribal level, but the most exciting way to do it for me personally is when that message contains emotion and pathos. With that I think in mind I think you can expect to see a lot of emotional, high intensity music coming out on the label, as well as things with real strands of humor, or darkness, or a real conceptual nature. Those are the things I respond to.

What can we expect from Me Me Me in the near future?

In no particular order we have tracks and remixes coming from James Hadfield, Axel Boman, Rex The Dog, Pale Blue, Pional, Hammer, Elliot Adamson, Paramida, Daniel Maloso and loads more.

Besides the recent start of your label, your work in the studio haven’t gone by unnoticed the last few years. You released your first two solo EPs on Correspondant and Hivern Discs, two of Europe’s most respected labels. How did it come to that?

I asked them if they wanted to release my music and they said yes. There’s no secret formula other than that. I didn’t know either Jennifer Cardini or John Talabot before I’d sent them any music, although I’m happy to say I consider them both friends now. I think I went in with a certain degree of confidence and clarity which made it easier for them to agree to work with me. Too many producers don’t value their own work highly enough, and approach labels as though they’re doing the artist a favor by releasing their work. However, if you’re not in love with your music, how can you expect anybody else to feel the same.

Your latest release was a remix-package of your “Man Power” LP – released on Correspondant mid-2015 – and includes remixes by Disco Halal frontman Moscoman, and up-and-coming artists like JMII, Pale Blue and Suade. Who would you recommend us to keep a close eye on in the future, and why?

James Hadfield is someone I’ve known for a very long time, and a person who actually helped me a lot when I was first starting to get my head around making music electronically. He started taking making his own music seriously last year, launched the Lizards project with my friend Foss (one of the guys who I do Last Waltz with) and released my favorite record of this year, Tanni (on Not An Animal). James is now also making music on his own, and I think he’s somebody people really should pick up on.

Elliot Adamson is a young guy who also was living in Newcastle where I come from. He’s a music making machine, with the most ridiculous wealth of talent, and a very broad spectrum of taste. He’s been picked up on by the likes of Jamie Jones, Eats Everything and Jackmaster, so his forthcoming releases will be very much centered on that part of the musical map, however I’ve been listening to his stuff for a long time, and that part of his sound is the peak of a very sizable Iceberg. I’m really proud that I have a release featuring some of his more leftfield leanings, as I’d love people to see the full picture where this guy is concerned.

You will be making you first appearance in Rotterdam soon, playing alongside Moscoman at BAR. What do you known about the club scene there? And what can we expect from the evening?

I don’t know much about Rotterdam’s scene, but I can’t help thinking of Clone Records (which is potentially my favorite label), as well as some of the dutch Electro guys like I-F / Unit Moebius, and Alden Tyrell etc. The Netherlands in general has a wonderful history of anti establishment electronic music, and I’m really hopeful that “fuck you” attitude still exists out there, as It’ll give me some room to really stretch my legs and show the floor what I’m REALLY about as a DJ.

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