Mantronix -The King of the Beats

Released in 1983 amidst the political controversy and social upheaval surrounding Ronald Reagan's economic theories, this minimal electro cut stills sounds relevant today despite being nearly 14 years old. Putting their protest on vinyl and delievering anti-Reagan lyrics in a futurist vocoder voice, PROJECT FUTURE produced a classic piece of electronic music that at the same time carried a heavyweight social comment. Combining the new Roland TR with an array of computer space sounds, plus the aforementioned vocoder, the track remains a prime example of a style of music that is today severly misunderstood and misinterpreted by the present generation of 'Young Pretenders'. Confronted with the reality of higher inflation and paying more tax to fund Reagan's ambitious Star Wars projects, the group were facing up to a bleak and uncertain future with their President more intent on staying one step ahead of the Russians than dealing with the escalating social problems. Of course, this was '83, America leading the world in space exploration with the shuttle, Ronald the Ray-Gun in office and the nuclear threat at it's peak. The Space-Race climate was an important influence for the birth of electro, though this track was not alone in expressing the thoughts of urban America.

THE MESSAGE had the biggest impact of all a year before ('82), with the cocaine narrative WHITE LINES released in '83. ELECTRIC KINGDOM told further tales of life in the inner city, alongside IT'S LIKE THAT and HARD TIMES. Political comment had always been prominent in Rap/Electro, however RAY-GUN-OMICS was unique in targeting the President himself. With the US now in election year, and Reagan's legacy still being felt by the American people, this record stands as a positive product from a troubled era.

...A time when the sharp tones of the drum machine ruled and subsequently influenced a next generation; for whom the 808 and 909 rhythm composers proved essential Manhattan DJ, Curtis Khalee cloaked himself in these powerful electronics, to emerge in 1¤985: Mantronik. While working at Downtown Records he hooked up with Brooklyn rhymer, Master Criminal tour. As did the duo and William Socolov (President of Sleeping Bag Records). Curtis simply introduced himself, "I've got some fresh beats for you!". 'Fresh is the Word' (debut 12"/'85) lit the 808, running rampant through New York. More fuel followed with a classic piece, Tricky Tee's 'Johnny the Fox', slicing up Thin Lizzy over the 909. The concepts were not new, the style unique. no other could fuse with the machines to produce earth-shattering live productions. By the time the Jamaican duo dropped 'Mantronix' (debut lp/'86), Mantronix had turned Hip Hop on it's head with Soulk and Dance feeling the pressure, while inspiring a new born House. "We're more musically orientated."

In an era when coarse beatbox rap dominated the street, influenced by Doug E Fresh, The Fat Boys and Run DMC, Mantronix revisited the ridiculous funk displayed by Art of Noise. Merging the soul of Electro with killer drum patterns, to penetrate both hardcore and mainstream fans. Britain's 10 records made a wise investment, released 'Ladies' and 'Bassline', both broke in the charts. in parallel he produced hard Bronx MC's, Just Ice and T La Rock, a privilage assigned to no ordinary uptown beatnik. 'Back to the Old School' (Sleeping Bag/'86) is one of the greats. A long-player clash of the titans. Emperor Of The Beat Mantronix vs Sir Vicious-Just Ice and the Human DMX. A touch too explosive, they fell out shortly after.