- published: 30 Sep 2007
- views: 15974069
- author: Espen Odland
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- 808 State
- A Guy Called Gerald
- A&R;
- Ableton Live
- Acid house
- Acid techno
- Adam Beyer
- Adam X
- Aesthetic
- Aesthetics of music
- Afrika Bambaataa
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- Akai S900
- Alexander Robotnick
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- Ambient music
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- Amsterdam
- Anthony Shakir
- Aphex Twin
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- Ata (DJ)
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- Australia
- Autechre
- Balearic beat
- Bar (music)
- Basic Channel
- Bass drum
- Beat (music)
- Beats per minute
- Bedlam sound system
- Belgium
- Belleville Three
- Belleville, Michigan
- Berlin
- Berlin Wall
- Blake Baxter
- Brazil
- Breakbeat
- Breakbeat hardcore
- Brighton
- C. J. Bolland
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- Capitalism
- Cari Lekebusch
- Carl Cox
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- Chicago house
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- Classical music
- Claudio Simonetti
- Clear (song)
- Club scene
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- Continental Europe
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- Czechtek
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- Daniel Bell
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- Darren Emerson
- Dave Angel
- Deep House
- Delia Derbyshire
- Depeche Mode
- Detroit
- Detroit techno
- Devo
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- Dimitri Hegemann
- DIN sync
- Disc jockey
- Disco
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- DIY culture
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- DJ Dag
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- DJ mix
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- DJ Umek
- Doctor Who
- Donna Summer
- Drexciya
- Drum and bass
- Drum beat
- Drum machine
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- Dubstep
- Duran Duran
- Düsseldorf
- E-Werk
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- East Berlin
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- EBay
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- Eddie Fowlkes
- Eighth note
- Electro music
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- Electronica
- England
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- Fixer (comics)
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- Goa
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- Happy hardcore
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- Industrial (music)
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- James Pennington
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- Jean-Marc Cerrone
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- Keyboard instrument
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- Kirk Degiorgio
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- Koh Phangan
- KPCC
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- Laurent Garnier
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- Love Parade
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- Mainz
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- Manuel Göttsching
- Mark Moore
- Marshall Jefferson
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- Max Msp
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- Michigan
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- Mike Pickering
- Mille Plateaux
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- Missy Elliott
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- Moby
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- Motif (music)
- Motown Records
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- Rhythim Is Rhythim
- Rhythm
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- Ricardo Villalobos
- Richie Hawtin
- Robert Hood
- Roland Corporation
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- Sampling (music)
- Schranz
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- Si Begg
- Slam (band)
- Slant Magazine
- Smart drinks
- Snare drum
- Solid State Survivor
- Soul music
- Sound on Sound
- Sound system (DJ)
- Speedy J
- Spiral Tribe
- Spirituality
- Squatting
- Stacey Pullen
- Subculture
- Suicide (band)
- SuperCollider
- Surgeon (musician)
- Sven Vath
- Sven Väth
- Symphonic techno
- Synchronization
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- Synth pop
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- Synthpop
- System 7 (band)
- Talla 2XLC
- Tangerine Dream
- Tanith (DJ)
- TB-303
- Tech house
- Tech trance
- Techno
- Techno-DNB
- Technoclub
- Techstep
- Tekkno
- Tekknozid
- Teknival
- Telex (band)
- Tempo
- Thailand
- The Advent
- The B-52's
- The DiY Sound System
- The Guardian
- The Haçienda
- The Human League
- The Independent
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- The Wire (magazine)
- Theodor W. Adorno
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-
Amsterdam
Amsterdam (English /ˈæmstərdæm/; Dutch: [ˌɑmstərˈdɑm] (
listen)) is the largest city and the capital of the Netherlands. The city's status as the capital of the nation is governed by the constitution. Amsterdam has a population of 790,654 within city limits, an urban population of 1,209,419 and a metropolitan population of 2,289,762. The city is located in the province of North Holland in the west of the country. It comprises the northern part of the Randstad, one of the larger conurbations in Europe, with a population of approximately 7 million.
Amsterdam's name is derived from Amstelredamme, indicative of the city's origin: a dam in the river Amstel. Settled as a small fishing village in the late 12th century, Amsterdam became one of the most important ports in the world during the Dutch Golden Age, a result of its innovative developments in trade. During that time, the city was the leading center for finance and diamonds. In the 19th and 20th centuries, the city expanded, and many new neighborhoods and suburbs were formed. The 17th-century canals of Amsterdam (in Dutch: 'Grachtengordel'), located in the heart of Amsterdam, were added to the UNESCO World Heritage List in July 2010.
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Australia
Australia (
/əˈstreɪljə/), officially the Commonwealth of Australia, is a country in the Southern Hemisphere comprising the mainland of the Australian continent as well as the island of Tasmania and numerous smaller islands in the Indian and Pacific Oceans. It is the world's sixth-largest country by total area. Neighbouring countries include Indonesia, East Timor and Papua New Guinea to the north; the Solomon Islands, Vanuatu and New Caledonia to the north-east; and New Zealand to the south-east.
For at least 40,000 years before European settlement in the late 18th century, Australia was inhabited by indigenous Australians, who belonged to one or more of roughly 250 language groups. After discovery by Dutch explorers in 1606, Australia's eastern half was claimed by Great Britain in 1770 and settled through penal transportation to the colony of New South Wales from 26 January 1788. The population grew steadily in subsequent decades; the continent was explored and an additional five self-governing Crown Colonies were established.
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Belgium
Belgium (
i/ˈbɛldʒəm/ BEL-jəm), officially the Kingdom of Belgium, is a federal state in Western Europe. It is a founding member of the European Union and hosts the EU's headquarters, and those of several other major international organisations such as NATO. Belgium covers an area of 30,528 square kilometres (11,787 sq mi), and it has a population of about 11 million people. Straddling the cultural boundary between Germanic and Latin Europe, Belgium is home to two main linguistic groups, the Dutch-speakers, mostly Flemish (about 60%), and the French-speakers, mostly Walloons (about 40%), plus a small group of German-speakers. Belgium's two largest regions are the Dutch-speaking region of Flanders in the north and the French-speaking southern region of Wallonia. The Brussels-Capital Region, officially bilingual, is a mostly French-speaking enclave within the Flemish Region. A German-speaking Community exists in eastern Wallonia. Belgium's linguistic diversity and related political conflicts are reflected in the political history and a complex system of government.
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Belleville, Michigan
Belleville is a city in Wayne County in the U.S. state of Michigan. The population was 3,991 at the 2010 census. It is the sister city of Machynlleth, Wales. Belleville is 15 miles (24 km) southeast of Ann Arbor and 29 miles (47 km) southwest of Detroit.
According to the United States Census Bureau, the city has a total area of 1.2 square miles (3.1 km2), of which 1.1 square miles (2.8 km2) is land and 0.04 square miles (0.10 km2), or 3.42%, is water. Edison Lake (the proper name of Belleville Lake) was created by damming up the Huron River in two places. The Huron River flows into Lake Erie.
As of the census of 2000, there were 3,997 people, 1,842 households, and 1,022 families residing in the city. The population density was 3,520.3 per square mile (1,353.7/km²). There were 1,931 housing units at an average density of 1,700.7 per square mile (654.0/km²). The racial makeup of the city was 87.54% White, 7.88% African American, 0.40% Native American, 1.18% Asian, 0.95% from other races, and 2.05% from two or more races. Hispanic or Latino of any race were 2.53% of the population.
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Berlin
Berlin ( /bɜrˈlɪn/; German pronunciation: [bɛɐ̯ˈliːn] ( listen)) is the capital city of Germany and one of the 16 states of Germany. With a population of 3.5 million people, Berlin is Germany's largest city and is the second most populous city proper and the eighth most populous urban area in the European Union. Located in northeastern Germany, it is the center of the Berlin-Brandenburg Metropolitan Region, which has 5.9 million residents from over 190 nations. Located in the European Plains, Berlin is influenced by a temperate seasonal climate. Around one third of the city's area is composed of forests, parks, gardens, rivers and lakes.
First documented in the 13th century, Berlin was the capital of the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).Berlin in the 1920s was the third largest municipality in the world. After World War II, the city became divided into East Berlin—the capital of East Germany—and West Berlin, a West German exclave surrounded by the Berlin Wall (1961–1989). Following German reunification in 1990, the city regained its status as the capital of Germany, hosting 147 foreign embassies.
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Berlin Wall
The Berlin Wall (German: Berliner Mauer) was a barrier constructed by the German Democratic Republic (GDR, East Germany) starting on 13 August 1961, that completely cut off West Berlin from surrounding East Germany and from East Berlin. The barrier included guard towers placed along large concrete walls, which circumscribed a wide area (later known as the "death strip") that contained anti-vehicle trenches, "fakir beds" and other defenses. The Eastern Bloc claimed that the wall was erected to protect its population from fascist elements conspiring to prevent the "will of the people" in building a socialist state in East Germany. In practice, the Wall served to prevent the massive emigration and defection that marked Germany and the communist Eastern Bloc during the post-World War II period.
The Berlin Wall was officially referred to as the "Anti-Fascist Protection Rampart" (German: Antifaschistischer Schutzwall) by GDR authorities, implying that neighbouring West Germany had not been fully de-Nazified. The West Berlin city government sometimes referred to it as the "Wall of Shame"—a term coined by mayor Willy Brandt—while condemning the Wall's restriction on freedom of movement. Along with the separate and much longer Inner German border (IGB) that demarcated the border between East and West Germany, both borders came to symbolize the "Iron Curtain" that separated Western Europe and the Eastern Bloc during the Cold War.
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Brazil
Brazili/brəˈzɪl/ (Portuguese: Brasil, IPA: [bɾaˈziw]), officially the Federative Republic of Brazil (Portuguese: República Federativa do Brasil, listen (help·info)), is the largest country in South America. It is the world's fifth largest country, both by geographical area and by population with over 192 million people. It is the only Portuguese-speaking country in the Americas and the largest lusophone country in the world.
Bounded by the Atlantic Ocean on the east, Brazil has a coastline of 7,491 km (4,655 mi). It is bordered on the north by Venezuela, Guyana, Suriname and the French overseas region of French Guiana; on the northwest by Colombia; on the west by Bolivia and Peru; on the southwest by Argentina and Paraguay and on the south by Uruguay. Numerous archipelagos form part of Brazilian territory, such as Fernando de Noronha, Rocas Atoll, Saint Peter and Paul Rocks, and Trindade and Martim Vaz. It borders all other South American countries except Ecuador and Chile.
Brazil was a colony of Portugal from the landing of Pedro Álvares Cabral in 1500 until 1815, when it was elevated to the rank of kingdom and the United Kingdom of Portugal, Brazil and the Algarves was formed. The colonial bond was in fact broken in 1808, when the capital of the Portuguese colonial empire was transferred from Lisbon to Rio de Janeiro, after Napoleon invaded Portugal.Independence was achieved in 1822 with the formation of the Empire of Brazil, a unitary state governed under a constitutional monarchy and a parliamentary system. The country became a presidential republic in 1889, when a military coup d'état proclaimed the Republic, although the bicameral legislature, now called Congress, dates back to the ratification of the first constitution in 1824. Its current Constitution, formulated in 1988, defines Brazil as a Federal Republic. The Federation is formed by the union of the Federal District, the 26 States, and the 5,564 Municipalities.
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Brighton
Coordinates: 50°50′35″N 0°07′53″W / 50.842941°N 0.1313120°W / 50.842941; -0.1313120
Brightoni/ˈbraɪtən/ is the major part of the city of Brighton and Hove (formed from the previous towns of Brighton, Hove, Portslade and several other villages) in East Sussex, England on the south coast of Great Britain. For administrative purposes, Brighton and Hove is not part of the non-metropolitan county of East Sussex, but remains part of the ceremonial county of East Sussex, within the historic county of Sussex.
The ancient settlement of Brighthelmstone dates from before Domesday Book (1086), but it emerged as a health resort featuring sea bathing during the 18th century and became a destination for day-trippers from London after the arrival of the railway in 1841. Brighton experienced rapid population growth, reaching a peak of over 160,000 by 1961. Modern Brighton forms part of the Brighton/Worthing/Littlehampton conurbation stretching along the coast, with a population of around 480,000.
Brighton has two universities and a medical school (which is operated jointly by both universities).
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Detroit
Detroit ( /diˈtrɔɪt/) is the largest city in the U.S. state of Michigan, and the seat of Wayne County. It is the major city among the primary cultural, financial, and transportation centers in the Metro Detroit area, a region of 5.2 million people, and serves as a major port on the Detroit River connecting the Great Lakes system to the Saint Lawrence Seaway. It was founded on July 24, 1701, by the French explorer, adventurer, and nobleman Antoine de la Mothe, sieur de Cadillac.
In 2010, the city had a population of 713,777 and ranked as the 18th most populous city in the United States. The name Detroit sometimes refers to the Metro Detroit area with a population of 4,296,250 for the six-county Metropolitan Statistical Area, the United States' eleventh-largest, and a population of 5,218,852 for the nine-county Combined Statistical Area as of the 2010 Census. The Detroit–Windsor area, a critical commercial link straddling the Canada–U.S. border, has a total population of about 5,700,000.
Known as the world's traditional automotive center, "Detroit" is a metonym for the American automobile industry and an important source of popular music legacies celebrated by the city's two familiar nicknames, the Motor City and Motown. Other nicknames arose in the 20th century, including City of Champions beginning in the 1930s for its successes in individual and team sport,The D, D-Town, Hockeytown (a trademark owned by the city's NHL club, the Red Wings), Rock City (after the Kiss song "Detroit Rock City"), and The 313 (its telephone area code) Detroit became known as the "great arsenal of democracy" for its support of the U.S. role among the Allied powers during World War II.
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E-Werk
The E-Werk was a techno music club in Berlin, which was previously an electrical substation. Located near Checkpoint Charlie, it was for many years one of Berlin's most well known techno clubs. It closed on 24 July 1997.
The famous DJ Paul Van Dyk was resident here. Paul pays homage to the club by remixing one of his most famous tracks, "For An Angel" and titling the remix (E-Werk).
The refurbished building of the E-Werk was reopened in 2005 - the heritage-protected area provides a unique architecture for events on multiple floors as well as offering modern office space.
Coordinates: 52°30′32″N 13°23′13″E / 52.50889°N 13.38694°E / 52.50889; 13.38694
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East Berlin
East Berlin was the name given to the eastern regions of Berlin between 1949 and 1990. East Berlin consisted of the Soviet sector of Berlin that was established in 1945. The American, British and French sectors became West Berlin, a part strongly associated with West Germany but a free city. Despite its status as part of an occupied city, East Berlin was claimed as the capital of East Germany, as the Soviets did not honor the distinction of a free city for their sector. From 13 August 1961 until 9 November 1989, East Berlin was separated from West Berlin by the Berlin Wall. The East German government referred to East Berlin simply as "Berlin" or often "Berlin, Hauptstadt der DDR" (Berlin, capital of the GDR). The term "Democratic Sector" was also used until the 1960s. (See also Naming conventions).
The Western Allies (the USA, Britain and France) never formally acknowledged the authority of the East German government to govern East Berlin; the official Allied protocol recognized only the authority of the Soviet Union in East Berlin in accordance with the occupation status of Berlin as a whole. The United States Command Berlin, for example, published detailed instructions for U.S. military and civilian personnel wishing to visit East Berlin. In fact, the three Western commandants regularly protested the presence of the East German National People's Army (NVA) in East Berlin, particularly on the occasion of military parades. Nevertheless, the three Western Allies eventually established embassies in East Berlin in the 1970s, although they never recognized it as the capital of East Germany. Treaties instead used terms such as "seat of government."
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England
Englandi/ˈɪŋɡlənd/ is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west; the Irish Sea is to the north west, the Celtic Sea to the south west, while the North Sea to the east and the English Channel to the south separate it from continental Europe. Most of England comprises the central and southern part of the island of Great Britain in the North Atlantic. The country also includes over 100 smaller islands such as the Isles of Scilly and the Isle of Wight.
The area now called England was first inhabited by modern humans during the Upper Palaeolithic period, but it takes its name from the Angles, one of the Germanic tribes who settled during the 5th and 6th centuries. England became a unified state in AD 927, and since the Age of Discovery, which began during the 15th century, has had a significant cultural and legal impact on the wider world. The English language, the Anglican Church, and English law—the basis for the common law legal systems of many other countries around the world—developed in England, and the country's parliamentary system of government has been widely adopted by other nations. The Industrial Revolution began in 18th-century England, transforming its society into the world's first industrialised nation. England's Royal Society laid the foundations of modern experimental science.
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Frankfurt airport
Frankfurt am Main Airport (IATA: FRA, ICAO: EDDF), or simply Frankfurt Airport, known in German as Flughafen Frankfurt am Main or Rhein-Main-Flughafen, is a major international airport located in Frankfurt, Germany, 12 km (7.5 mi) southwest of the city centre.
Run by transport company Fraport, Frankfurt Airport is by far the busiest airport by passenger traffic in Germany, the third busiest in Europe (after London Heathrow Airport and Paris-Charles de Gaulle Airport) and the ninth busiest worldwide in 2011. Passenger traffic at Frankfurt Airport in 2011 was 56.4 million. As of winter 2011/2012, Frankfurt Airport serves the most international destinations in the world, serving 275 destinations in 111 countries and is the busiest airport in Europe by cargo traffic. The southern side of the airport ground was home to the Rhein-Main Air Base, which was a major air base for the United States from 1947 until 2005, when the air base was closed and the property was acquired by Fraport.
The airport is centrally located in the Frankfurt/Rhine-Main region, Germany's second-largest metropolitan region, which itself has a central location in the densely populated region of the west-central European megalopolis. Thereby, along with a strong rail and motorway connection, the airport serves as a major transportation hub to the greater region, less than two hours by ground to Cologne, the Ruhr Area, and Stuttgart.
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Germany
Germany (i/ˈdʒɜrməni/), officially the Federal Republic of Germany (German: Bundesrepublik Deutschland, pronounced [ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant] ( listen)), is a federal parliamentary republic in Europe. The country consists of 16 states while the capital and largest city is Berlin. Germany covers an area of 357,021 km2 and has a largely temperate seasonal climate. With 81.8 million inhabitants, it is the most populous member state and the largest economy in the European Union. It is one of the major political powers of the European continent and a technological leader in many fields.
A region named Germania, inhabited by several Germanic peoples, was documented before AD 100. During the Migration Period, the Germanic tribes expanded southward, and established successor kingdoms throughout much of Europe. Beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation while southern and western parts remained dominated by Roman Catholic denominations, with the two factions clashing in the Thirty Years' War, marking the beginning of the Catholic–Protestant divide that has characterized German society ever since. Occupied during the Napoleonic Wars, the rise of Pan-Germanism inside the German Confederation resulted in the unification of most of the German states into the German Empire in 1871 which was Prussian dominated. After the German Revolution of 1918–1919 and the subsequent military surrender in World War I, the Empire was replaced by the Weimar Republic in 1918, and partitioned in the Treaty of Versailles. Amidst the Great Depression, the Third Reich was proclaimed in 1933. The latter period was marked by Fascism and World War II. After 1945, Germany was divided by allied occupation, and evolved into two states, East Germany and West Germany. In 1990 Germany was reunified.
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Goa
Goai/ˈɡoʊ.ə/ is India's smallest state by area and the fourth smallest by population. Located in West India in the region known as the Konkan, it is bounded by the state of Maharashtra to the north, and by Karnataka to the east and south, while the Arabian Sea forms its western coast. Goa is India's richest state with a GDP per capita two and a half times that of the country as a whole. It was ranked the best placed state by the Eleventh Finance Commission for its infrastructure and ranked on top for the best quality of life in India by the National Commission on Population based on the 12 Indicators.
Panaji is the state's capital, while Vasco da Gama is the largest city. The historic city of Margao still exhibits the cultural influence of the Portuguese, who first landed in the early 16th century as merchants and conquered it soon thereafter. Goa is a former Portuguese colony, the Portuguese overseas territory of Portuguese India existed for about 450 years until it was annexed by India in 1961.
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India
India (i/ˈɪndiə/), officially the Republic of India (Bhārat Gaṇarājya), is a country in South Asia. It is the seventh-largest country by geographical area, the second-most populous country with over 1.2 billion people, and the most populous democracy in the world. Bounded by the Indian Ocean on the south, the Arabian Sea on the south-west, and the Bay of Bengal on the south-east, it shares land borders with Pakistan to the west;China, Nepal, and Bhutan to the north-east; and Burma and Bangladesh to the east. In the Indian Ocean, India is in the vicinity of Sri Lanka and the Maldives; in addition, India's Andaman and Nicobar Islands share a maritime border with Thailand and Indonesia.
Home to the ancient Indus Valley Civilisation and a region of historic trade routes and vast empires, the Indian subcontinent was identified with its commercial and cultural wealth for much of its long history. Four of the world's major religions—Hinduism, Buddhism, Jainism, and Sikhism—originated here, whereas Zoroastrianism, Christianity, and Islam arrived in the 1st millennium CE and also helped shape the region's diverse culture. Gradually annexed by and brought under the administration of the British East India Company from the early 18th century and administered directly by the United Kingdom from the mid-19th century, India became an independent nation in 1947 after a struggle for independence that was marked by non-violent resistance led by Mahatma Gandhi.
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Koh Phangan
Ko Pha Ngan (or Koh Phangan, Thai: เกาะพะงัน, RTGS: Ko Pha-ngan, Thai pronunciation: [kɔ̀ʔ pʰa.ŋan]) is an island in the Gulf of Thailand in South East Thailand, and located in Surat Thani Province. It is famous for its full moon party at Haad Rin Beach and as a backpackers destination. Ko Pha Ngan has two sister islands: the larger Ko Samui to the south and the smaller Ko Tao to the north.
The name of Ko Pha Ngan comes from the word 'Ngan', meaning 'sand bar' in the southern dialect, for there are many sand bars offshore around the island. Ko Pha Ngan has been a long time favorite of past kings of Thailand. Specifically Rama V, or Chulalongkorn visited Ko Pha Ngan 14 times during his reign. The Bronze Drum of Dongson Culture (500BC - 100BC) that was found on Ko Samui in 1977 is evidence that there were settlements of people on Ko Samui, Ko Pha Ngan, and their islets from more than two thousand years ago. Some historians and archaeologists believe that the first group who migrated to Ko Pha Ngan were the Muslim sea Gypsies (Pygmy, Semung, and Proto-Malay) who travelled by boat from the Malay Peninsula. However, nowadays there are few Muslims who live on the island.
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Manchester
Coordinates: 53°28′N 2°14′W / 53.467°N 2.233°W / 53.467; -2.233
Manchesteri/ˈmæntʃɛstər/ is a city and metropolitan borough in Greater Manchester, England with an estimated population of 498,800 in 2010. Manchester lies within one of the United Kingdom's largest urban areas; the Greater Manchester Urban Area which has a population of 2.2 million. The demonym of Manchester is Mancunian and the local authority is Manchester City Council.
Manchester is situated in the south-central part of North West England, fringed by the Cheshire Plain to the south and the Pennines to the north and east. The recorded history of Manchester began with the civilian settlement associated with the Roman fort of Mamucium, which was established in c. 79 AD on a sandstone bluff near the confluence of the rivers Medlock and Irwell. Historically, most of the city was a part of Lancashire, although areas south of the River Mersey were in Cheshire. Throughout the Middle Ages Manchester remained a manorial township, but it began to expand "at an astonishing rate" around the turn of the 19th century. Manchester's unplanned urbanisation was brought on by a boom in textile manufacture during the Industrial Revolution, and resulted in it becoming the world's first industrialised city. An early 19th-century factory building boom transformed Manchester from a township into a major mill town and borough that was granted city status in 1853. In 1894 the Manchester Ship Canal was built, creating the Port of Manchester.
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Michigan
Michigan (i/ˈmɪʃɨɡən/) is a state located in the Great Lakes region of the Midwestern United States. The name Michigan is the French form of the Ojibwa word mishigamaa, meaning "large water" or "large lake". Michigan is the 8th most populous of the 50 United States, with the 11th most extensive total area. Its capital is Lansing, and the largest city is Detroit. Michigan was admitted into the Union on January 26, 1837 as the 26th state.
Michigan has the longest freshwater coastline of any political subdivision in the world, being bounded by four of the five Great Lakes, plus Lake Saint Clair. Michigan is one of the leading U.S. states for recreational boating. The state has 64,980 inland lakes and ponds. A person in the state is never more than six miles (9.7 km) from a natural water source or more than 85 miles (137 km) from a Great Lakes shoreline. It is the largest state by total area east of the Mississippi River.
Michigan is the only state to consist of two peninsulas. The Lower Peninsula, to which the name Michigan was originally applied, is often noted to be shaped like a mitten. The Upper Peninsula (often referred to as "the U.P.") is separated from the Lower Peninsula by the Straits of Mackinac, a five-mile (8 km) channel that joins Lake Huron to Lake Michigan. The two peninsulas are connected by the Mackinac Bridge. The Upper Peninsula is economically important due to its status as a tourist destination. There is also a variety of natural resources to be found there, including a sizable amount of iron ore.
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Netherlands
The Netherlands (
i/ˈnɛðərləndz/; Dutch: Nederland [ˈneːdə(r)lɑnt] or [ˈneɪ̯də(r)lɑnt] (
listen); West Frisian: Nederlân; Papiamento: Hulanda) is a constituent country of the Kingdom of the Netherlands, located mainly in North-West Europe and with some islands in the Caribbean. Mainland Netherlands borders the North Sea to the north and west, Belgium to the south, and Germany to the east, and shares maritime borders with Belgium, Germany and the United Kingdom. It is a parliamentary democracy organised as a unitary state. The country capital is Amsterdam and the seat of government is The Hague. The Netherlands in its entirety is often referred to as Holland, although North and South Holland are actually only two of its twelve provinces (a case of pars pro toto; see terminology of "the Netherlands").
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New York
New York (/njuː ˈjɔrk/; locally IPA: [nɪu ˈjɔək] or [nuː ˈjɔɹk] ( listen)) is a state in the Northeastern region of the United States. New York is the 27th most extensive, the 3rd most populous, and the 7th most densely populated of the 50 United States. New York is bordered by New Jersey and Pennsylvania to the south, and by Connecticut, Massachusetts and Vermont to the east. The state has a maritime border with Rhode Island east of Long Island, as well as an international border with the Canadian provinces of Ontario to the west and north, and Quebec to the north. The state of New York is often referred to as New York State to distinguish it from New York City.
New York City, with a population of over 8.1 million, is the most populous city in the United States. Alone, it makes up over 40 percent of the population of New York state. It is known for its status as a center for finance and culture and for its status as the largest gateway for immigration to the United States. According to the U.S. Department of Commerce, New York City is also a destination of choice for many foreign visitors. Both the state and city were named for the 17th century Duke of York, James Stuart, future James II and VII of England and Scotland.
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Nottingham
Nottingham (i/ˈnɒtɪŋəm/ NOT-ing-əm) is a city and unitary authority in the East Midlands of England in the ceremonial county of Nottinghamshire and is one of eight members of the English Core Cities Group.
Nottingham is famed for its links with the legend of Robin Hood and, during the Industrial Revolution, obtained worldwide recognition for its lace-making, bicycle and tobacco industries. With origins tracable back to 600 AD, Nottingham was granted its city charter as part of the Diamond Jubilee celebrations of Queen Victoria in 1897 and has since been officially titled the City of Nottingham. The city has historically been nicknamed The Queen of the Midlands, being the smaller yet less industrialised regional neighbour to the Midlands biggest city, Birmingham. Nottingham is considered the primary centre of England's East Midlands region, being home to numerous regional headquarters and media stations including the BBC East Midlands and the Regional Government Office.
Whilst Nottingham has always had a tightly-drawn authority boundary, accounting for its relatively small population of 306,700, Nottingham's Urban Area has a population of approximately 670,000; in the 2001 census, it was the eighth largest urban area in the United Kingdom. Eurostat's concept of the Larger Urban Zone listed the area's population at 825,600 as of 2004.
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Thailand
Thailand (
/ˈtaɪlænd/ TY-land or /ˈtaɪlənd/;Thai: ประเทศไทย, RTGS: Prathet Thai), officially the Kingdom of Thailand (Thai: ราชอาณาจักรไทย, RTGS: Ratcha Anachak Thai; IPA: [râːt.tɕʰā ʔāːnāːtɕàk tʰāj] ( listen)), formerly known as Siam (Thai: สยาม; RTGS: Sayam), is a country located at the centre of the Indochina peninsula in Southeast Asia. It is bordered to the north by Burma and Laos, to the east by Laos and Cambodia, to the south by the Gulf of Thailand and Malaysia, and to the west by the Andaman Sea and the southern extremity of Burma. Its maritime boundaries include Vietnam in the Gulf of Thailand to the southeast, and Indonesia and India in the Andaman Sea to the southwest.
The country is a constitutional monarchy, headed by King Rama IX, the ninth king of the House of Chakri, who, having reigned since 1946, is the world's longest-serving head of state and the longest-reigning monarch in Thai history. The king of Thailand is titled Head of State, Head of the Armed Forces, the Upholder of the Buddhist religion, and the Defender of all Faiths.
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The Haçienda
Fac 51 Haçienda (better known simply as The Haçienda) was a nightclub and music venue in Manchester, England. It became most famous during the "Madchester" years of the late 1980s and early 1990s; during the 1990s it was labelled the most famous club in the world by Newsweek magazine. The Haçienda opened in 1982, and despite considerable and persistent financial troubles survived until 1997 – during much of this time the club was mainly supported by record sales from New Order. The Haçienda is associated with the rise of acid house and rave music.
The former warehouse occupied by the club was at 11-13, Whitworth Street West on the southside of the Rochdale Canal: the frontage was curved and built of red brick. Before it was turned into a club, the Haçienda was a yacht builder's shop and warehouse before becoming a Bollywood cinema in the 1970s, showing films to the local Asian community.[citation needed]
Originally conceived by Rob Gretton, it was largely financed by the record label Factory Records and the band New Order along with label boss Tony Wilson. It was located on the corner of Whitworth Street West and Albion Street, close to Castlefield, in the centre of the city. FAC 51 was its official designation in the Factory catalogue. New Order and Tony Wilson were directors of the club.
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The Netherlands
The Netherlands (i/ˈnɛðərləndz/; Dutch: Nederland [ˈneːdə(r)lɑnt] or [ˈneɪ̯də(r)lɑnt] ( listen); West Frisian: Nederlân; Papiamento: Hulanda) is a constituent country of the Kingdom of the Netherlands, located mainly in North-West Europe and with some islands in the Caribbean. Mainland Netherlands borders the North Sea to the north and west, Belgium to the south, and Germany to the east, and shares maritime borders with Belgium, Germany and the United Kingdom. It is a parliamentary democracy organised as a unitary state. The country capital is Amsterdam and the seat of government is The Hague. The Netherlands in its entirety is often referred to as Holland, although North and South Holland are actually only two of its twelve provinces (a case of pars pro toto; see terminology of "the Netherlands").
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Tokyo
Tokyo (東京, Tōkyō?, "Eastern Capital") [toːkʲoː], English /ˈtoʊki.oʊ/; officially Tokyo Metropolis (東京都, Tōkyō-to?), is one of the 47 prefectures of Japan. Tokyo is the capital of Japan, the center of the Greater Tokyo Area, and the largest metropolitan area of the world. It is the seat of the Japanese government and the Imperial Palace, and the home of the Japanese Imperial Family. Tokyo is in the Kantō region on the southeastern side of the main island Honshu and includes the Izu Islands and Ogasawara Islands. Tokyo Metropolis was formed in 1943 from the merger of the former Tokyo Prefecture (東京府, Tōkyō-fu?) and the city of Tokyo (東京市, Tōkyō-shi?).
The Tokyo Metropolitan government administers the 23 special wards of Tokyo (each governed as a city), which cover the area that was the city of Tokyo, as well as 39 municipalities in the western part of the prefecture and the two outlying island chains. The population of the special wards is over 8 million people, with the total population of the prefecture exceeding 13 million. The prefecture is part of the world's most populous metropolitan area with upwards of 35 million people and the world's largest urban agglomeration economy with a GDP of US$1.479 trillion at purchasing power parity in 2008, ahead of New York City metropolitan area, which ranks second on the list. The city hosts 47 of the Fortune Global 500 companies, the highest amount of any city.
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Tresor
Tresor (German for safe or vault) is an underground techno nightclub and record label. The club was founded in March 1991 in the vaults of the former old Wertheim department store in Mitte, the central part of the former East Berlin, next to the famous Potsdamer Platz, however the history of the club goes back to 1988 when the electronic music label Interfisch opened the Ufo Club in Berlin. Ufo was the original centre of Berlin house and techno, but due to financial problems that club closed in 1990.
After Ufo closed, Interfisch's head, Dimitri Hegemann and some investors in the club found the new space in East Berlin. This was advantageous timing, as it was only a few months before Germany unified. The vaults under the Wertheim department store proved to be the perfect location for a club, and Tresor quickly became the place to be in Berlin. Tresor continued to be a popular club to this day, having expanded and reconstructed continuously several times to include an outdoor garden area, and a second "Globus" floor. The concept for the Tresor floor in the basement was specifically hard techno, industrial and acid music while Globus was featuring mainly more mellow house sound. The recordlabel Tresor Records was founded soon after the club first opened, in October 1991. Featured artists on the label include Jeff Mills, Blake Baxter, Juan Atkins, Robert Hood, Stewart Walker, Joey Beltram, Pacou, Cristian Vogel, House of Fix and many others.
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Tresor Records
Tresor (German for safe or vault) is an underground techno nightclub and record label. The club was founded in March 1991 in the vaults of the former old Wertheim department store in Mitte, the central part of the former East Berlin, next to the famous Potsdamer Platz, however the history of the club goes back to 1988 when the electronic music label Interfisch opened the Ufo Club in Berlin. Ufo was the original centre of Berlin house and techno, but due to financial problems that club closed in 1990.
After Ufo closed, Interfisch's head, Dimitri Hegemann and some investors in the club found the new space in East Berlin. This was advantageous timing, as it was only a few months before Germany unified. The vaults under the Wertheim department store proved to be the perfect location for a club, and Tresor quickly became the place to be in Berlin. Tresor continued to be a popular club to this day, having expanded and reconstructed continuously several times to include an outdoor garden area, and a second "Globus" floor. The concept for the Tresor floor in the basement was specifically hard techno, industrial and acid music while Globus was featuring mainly more mellow house sound. The recordlabel Tresor Records was founded soon after the club first opened, in October 1991. Featured artists on the label include Jeff Mills, Blake Baxter, Juan Atkins, Robert Hood, Stewart Walker, Joey Beltram, Pacou, Cristian Vogel, House of Fix and many others.
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United Kingdom
The United Kingdom of Great Britain and Northern Ireland (commonly known as the United Kingdom, the UK, or Britain) is a sovereign state located off the north-western coast of continental Europe. The country includes the island of Great Britain, the north-eastern part of the island of Ireland and many smaller islands. Northern Ireland is the only part of the UK that shares a land border with another sovereign state—the Republic of Ireland. Apart from this land border the UK is surrounded by the Atlantic Ocean, the North Sea, the English Channel and the Irish Sea.
The United Kingdom is a unitary state governed under a constitutional monarchy and a parliamentary system, with its seat of government in the capital city of London. It is a country in its own right and consists of four countries: England, Northern Ireland, Scotland and Wales. There are three devolved administrations, each with varying powers, based in Belfast, Edinburgh and Cardiff, the capitals of Northern Ireland, Scotland, and Wales. Associated with the UK, but not constitutionally part of it, are three Crown Dependencies. The United Kingdom has fourteen overseas territories. These are remnants of the British Empire which, at its height in 1922, encompassed almost a quarter of the world's land surface and was the largest empire in history. British influence can still be observed in the language, culture and legal systems of many of its former territories.
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United States
The United States of America (commonly abbreviated to the United States, the U.S., the USA, America, and the States) is a federal constitutional republic comprising fifty states and a federal district. The country is situated mostly in central North America, where its forty-eight contiguous states and Washington, D.C., the capital district, lie between the Pacific and Atlantic Oceans, bordered by Canada to the north and Mexico to the south. The state of Alaska is in the northwest of the continent, with Canada to the east and Russia to the west, across the Bering Strait. The state of Hawaii is an archipelago in the mid-Pacific. The country also possesses several territories in the Pacific and Caribbean.
At 3.79 million square miles (9.83 million km2) and with over 312 million people, the United States is the third or fourth largest country by total area, and the third largest by both land area and population. It is one of the world's most ethnically diverse and multicultural nations, the product of large-scale immigration from many countries. The U.S. economy is the world's largest national economy, with an estimated 2011 GDP of $15.1 trillion (22% of nominal global GDP and over 19% of global GDP at purchasing-power parity). Per capita income is the world's sixth-highest.
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Windsor, Ontario
Windsor is the southernmost city in Canada and is located in Southwestern Ontario at the western end of the heavily populated Quebec City–Windsor Corridor. It is within the Essex, Ontario Census division, although administratively separated from the county government. Separated by the Detroit River, Windsor is located south of Detroit, Michigan in the United States. Windsor is known as The City of Roses and residents are known as Windsorites.
Prior to European exploration and settlement, the Windsor area was inhabited by the First Nations and Native American people. Windsor was settled by the French in 1749 as an agricultural settlement. It is the oldest continually inhabited European settlement in Canada west of Montreal. The area was first named Petite Côte ("Little Coast" - as opposed to the longer coastline on the Detroit side of the river). Later it was called La Côte de Misère ("Poverty Coast") because of the sandy soils near LaSalle.
Windsor's French Canadian heritage is reflected in many French street names, such as Ouellette, Pelissier, François, Pierre, Langlois, Marentette, and Lauzon. The current street system of Windsor (a grid with elongated blocks) reflects the Canadien method of agricultural land division, where the farms were long and narrow, fronting along the river. Today, the north-south street name often indicates the name of the family that at one time farmed the land. The street system of outlying areas is consistent with the British system for granting land concessions. There is a significant French-speaking minority in Windsor and the surrounding area, particularly in the Lakeshore, Tecumseh and LaSalle areas.
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A&R;
Artists and repertoire (A&R) is the division of a record label that is responsible for talent scouting and overseeing the artistic development of recording artists. It also acts as a liaison between artists and the record label; every activity involving artists to the point of album release is generally considered under the purview of, and responsibility of, A&R.
The A&R division is responsible for discovering new recording artists and bringing them to the record company. They are expected to understand the current tastes of the market and to be able to find artists that will be commercially successful. For this reason, A&R people are often young and many are musicians, music journalists or record producers.
An A&R executive is authorized to offer a record contract, often in the form of a "deal memo": a short informal document that establishes a business relationship between the recording artist and the record company. The actual contract negotiations will typically be carried out by rival entertainment lawyers hired by the musician's manager and the record company.
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Adam Beyer
Adam Beyer (born 1976 in Stockholm, Sweden) is a Swedish techno producer and DJ. He is the founder of Drumcode Records, Truesoul Records, Code Red and Mad Eye Recordings. He is one of several Swedish techno artists to emerge in the mid-1990s along the likes of Cari Lekebusch, Joel Mull, Jesper Dahlback, Alexi Delano, Christian Smith and more.
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Afrika Bambaataa
Afrika Bambaataa (born April 19, 1957) is an American DJ from the South Bronx, New York who was instrumental in the early development of hip hop throughout the 1980s. Afrika Bambaataa is one of the three originators of break-beat deejaying, and is respectfully known as the "Grandfather" and the Amen Ra of Universal Hip Hop Culture as well as the Father of The Electro Funk Sound. Through his co-opting of the street gang the Black Spades into the music and culture-oriented Universal Zulu Nation, he is responsible for spreading hip hop culture throughout the world. On September 27, 2007, he was nominated for induction into the Rock and Roll Hall of Fame.
Afrika Bambaataa grew up in The Bronx River Projects, with an activist mother and uncle. As a child, he was exposed to the black liberation movement, and witnessed debates between his mother and uncle regarding the conflicting ideologies in the movement. He was exposed to his mother's extensive and eclectic record collection. Gangs in the area became the law in the absence of law, clearing their turf of drug dealers, assisting with community health programs and both fighting and partying to keep members and turf. Bambaataa was a founding member of The Bronx River Projects-area street gang The Savage Seven. Due to the explosive growth of the gang, it later became known as the Black Spades, and Bambaataa quickly rose to the position of warlord. As warlord, it was his job to build ranks and expand the turf of the Black Spades. Bambaataa was not afraid to cross turfs to forge relationships with other gang members, and with other gangs. As a result, the Spades became the biggest gang in the city in terms of both membership and turf.
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Alexander Robotnick
Alexander Robotnick (aka Maurizio Dami) is an Italian electronic musician. He made his debut on the Italian music scene as the founding member of Avida, a dance-cabaret band featuring Daniele Trambusti and Stefano Fuochi.
In 1983 he attained international popularity with his track "Problèmes d'amour", published first by the Italian label Materiali Sonori and then by Sire-Wea. "Problèmes d'amour" went on to become a "cult track" of dance music. In 1984 he joined "Giovanotti Mondani Meccanici" a multimedia-oriented group and composed soundtracks for theatre works, videos and video-installations. He also composed soundtracks for films and theatre works by Italian directors such as Alessandro Benvenuti, Antonio Climati, Marco Mattolini, and Marco Risi.
In 1987 he turned his interest to World Music, and for the next decade collaborated with African, Kurdish and Indian musicians. In 1994 Robotnick began working with the Indian-Italian band "Govinda" leading to the production of two tracks "Devotion" and "Transcendental Ecstasy" for Govinda's first album "Selling India By the Pound".
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Alvin Toffler
Alvin Toffler (born October 4, 1928 in New York City) is an American writer and futurist, known for his works discussing the digital revolution, communication revolution, corporate revolution and technological singularity.
A former associate editor of Fortune magazine, his early work focused on technology and its impact (through effects like information overload). Then he moved to examining the reaction of and changes in society. His later focus has been on the increasing power of 21st century military hardware, weapons and technology proliferation, and capitalism.
He founded Toffler Associates, a management consulting company, and was a visiting scholar at the Russell Sage Foundation, visiting professor at Cornell University, faculty member of the New School for Social Research, a White House correspondent, an editor of Fortune magazine, and a business consultant.
Toffler is married to Heidi Toffler, also a writer and futurist. They live in the Bel Air section of Los Angeles, California, just north of Sunset Boulevard.
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Anthony Shakir
Anthony "Shake" Shakir, who also uses the aliases Sequence 10 and Da Sampla, is an American techno producer, best known for his contributions to Detroit techno.
Shakir began producing in 1981, and worked with Detroit musicians such as Derrick May and Carl Craig for many of their early Metroplex releases. Shakir appeared under the name Sequence 10 on the Virgin Records compilation Techno: The New Dance Sound of Detroit.
While many of his peers on the Detroit scene have worked to increase their profile in Europe, Shakir never gravitated toward this scene, working more closely with the second wave of Detroit techno musicians such as Mike Banks and Claude Young. He formed the labels Frictional in 1995 and Puzzlebox in 1996, the latter with Keith Tucker.
Among Shakir's credits are remixes for Telex and Inner City, as well as co-production of the Urban Tribe's 1998 album for Mo Wax, The Collapse of Modern Culture.
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Aphex Twin
Richard David James (born 18 August 1971), best known under the pseudonym Aphex Twin, is a British electronic musician and composer. He founded the record label Rephlex Records in 1991 with Grant Wilson-Claridge. He was described by The Guardian as "the most inventive and influential figure in contemporary electronic music."
Aphex Twin has also recorded music under the aliases AFX, Blue Calx, Bradley Strider, Caustic Window, DJ Smojphace, GAK, Martin Tressider, Polygon Window, Power-Pill, Prichard D. Jams, Q-Chastic, Tahnaiya Russell, The Dice Man, Soit-P.P., and speculatively The Tuss.
Aphex Twin has released recordings on Rephlex, Warp, R&S, Sire, Mighty Force, Rabbit City, and Men Records.
Richard David James was born to Welsh parents Lorna and Derek James in St. Munchin's Limerick Regional Maternity Hospital, Ireland. He grew up in Lanner, Cornwall, enjoying, along with two older sisters, a "very happy" childhood during which they, according to James, "were pretty much left to do what [they] wanted." He "liked growing up there, being cut off from the city and the rest of the world". James attended Redruth School, located in Redruth, Cornwall.
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Basic Channel
Basic Channel is a production team and record label, composed of Moritz Von Oswald and Mark Ernestus, that originated in Berlin, Germany in 1993. The duo released a number of vinyl-only tracks under various aliases, each of which employed their signature brand of dissonant dub techno. The nine original releases were each primarily identified as Basic Channel productions by their catalogue numbers, as the Basic Channel logo on the label became more distorted and unreadable with each subsequent release.
The duo set up a studio in Berlin on Paul-Lincke-Ufer, in a building which was eventually to house Mark Ernestus’ distributing company and shop Hard Wax, and the label's mastering studio Dubplates & Mastering, set up to ensure a desired dynamic quality for the vinyl.
The Basic Channel imprint ceased business in 1995 (apart from two releases almost a decade later that were originally issued on Carl Craig's Planet E label), but were followed by a string of similar labels. Among the most important were Chain Reaction, which released non-Von Oswald/Ernestus productions and helped launch the careers of dub-influenced minimal techno producers such as Monolake and Porter Ricks; Basic Replay, which specialises in reggae and dancehall re-issues; Main Street, for house-related releases; and Burial Mix and Rhythm & Sound, which saw the duo's sound move away from the Detroit blueprint and closer to vocal-lead dub and reggae. Their With The Artists album, released as Rhythm & Sound and featuring celebrated reggae and dancehall vocalists such as Sugar Minott, featured in the top 50 records of the year for 2003 in The Wire magazine.
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Blake Baxter
Blake Baxter is an American techno musician, associated with the first wave of Detroit techno. Allmusic called him "perhaps the most underrated figure" of the early Detroit techno scene.
Baxter first began mixing records in the middle of the 1980s. Some of his first releases was recorded in Chicago on the label DJ International, which was latter remixed and released in Detroit on the record label KMS Records, KMS-011. also in Detroit He released music on the Underground Resistance label an EP 12 inch vinyl The Prince of Techno UR-06 in the late 1980s and early 1990s, and had several of his productions featured on the Techno: The New Dance Sound of Detroit compilation. Around 1989-92 he released three 12 inches records on Incognito Records.[citation needed]
While touring in Germany in Berlin, he released One more time on Tresor records and "Brothers Gonna Work it Out on Logic records in Frankfurt a track based on Willie Hutch's 1973 eponymous release, which was later sampled by The Chemical Brothers. After returning to Detroit, he set up the labels Mix Records and Phat Joint and open a record store in downtown Detroit called Save the Vinyl from 1992 to 1999.[citation needed]
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C. J. Bolland
C. J. Bolland (born Christian Jay Bolland, 18 June 1971, Stockton-on-Tees, England) is a British electronic music producer and remixer.
Born in Stockton-on-Tees, County Durham, Bolland's family moved to Antwerp, Belgium when he was three years old. As a teenager he was strongly influenced by the Belgian underground scene of new wave, electro and EBM embodied by artists such as Front 242, Neon Judgement and The Klinik. His first productions were aired in the early 1980s on Belgium's 'Liaisons Dangereuses' radio show, and Bolland was one of the first record producers to be signed to the fledgling Belgian techno record label R&S. His first release, "Do That Dance" in 1989, was followed by several more under different aliases such as 'Space Opera', 'The Project', 'Cee-Jay' and 'Pulse'. Bolland's first major success with the track "Horsepower" on 1991's Ravesignal III EP earned him industry attention and respect with wide airplay amongst European techno DJs, and 1993's 4th Sign album, including the singles "Camargue" and "Nightbreed" saw him garner further acclaim and commercial success. Bolland's second album for R&S, Electronic Highway, was released in 1995.
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C.J. Bolland
C. J. Bolland (born Christian Jay Bolland, 18 June 1971, Stockton-on-Tees, England) is a British electronic music producer and remixer.
Born in Stockton-on-Tees, County Durham, Bolland's family moved to Antwerp, Belgium when he was three years old. As a teenager he was strongly influenced by the Belgian underground scene of new wave, electro and EBM embodied by artists such as Front 242, Neon Judgement and The Klinik. His first productions were aired in the early 1980s on Belgium's 'Liaisons Dangereuses' radio show, and Bolland was one of the first record producers to be signed to the fledgling Belgian techno record label R&S. His first release, "Do That Dance" in 1989, was followed by several more under different aliases such as 'Space Opera', 'The Project', 'Cee-Jay' and 'Pulse'. Bolland's first major success with the track "Horsepower" on 1991's Ravesignal III EP earned him industry attention and respect with wide airplay amongst European techno DJs, and 1993's 4th Sign album, including the singles "Camargue" and "Nightbreed" saw him garner further acclaim and commercial success. Bolland's second album for R&S, Electronic Highway, was released in 1995.
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Cari Lekebusch
Cari Lekebusch (born 1972) is an electronic music producer and DJ based in Stockholm. His productions range from techno to hip hop. He owns a record label, H. Productions, founded and managed by himself. The original name of the record label was Hybrid productions, but a legal twist in 1998 with the Japanese label Avex Trax's British group Hybrid forced Lekebusch to change his record label name to its present name. His studio is called HP HQ (Hybrid production Headquarters).
In the early 1990s Lekebusch became a member of the Stockholm based remix service group SweMix that at that time had notable members as Denniz Pop and StoneBridge (which is called the grandfather of Swedish house music). After a while Lekebusch started to venture out from remixing other artists to create his own music that became not even nearly as mainstream as SweMix productions and at the same time Lekebusch really started to explore techno and electronica. Lekebusch left the remix group not long after.
Since the early-mid 1990s he has collaborated with Adam Beyer, Robert Leiner, Alexi Delano, Thomas Krome, Jesper Dahlbäck, Joel Mull, Mark Williams and many more. Cari has been in the constellation Kozmic Gurt Brodhas (aka KGB), the two other members are Abi Lönnberg and David Roiseux. Recently Lekebusch has also started to produce other artist as well with music leaning more towards hip-hop with electronic influences, two being Max Peezay and NFL Kru.
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Carl Cox
Carl Cox (born 29 July 1962, Barbados) is a British techno and house music DJ and producer.
Cox grew up in Oldham, Lancashire, before attending Glastonbury High Boys secondary modern school on Glastonbury Road in Morden.[citation needed] Cox began his career as a hardcore and rave DJ in the mid 1980s. One of the first gigs he played was in legendary promoters John Binton and Terry Onion's Squeeze my buttered Onions! club in Hackney, London Unconfirmed reports suggest he was coerced into swallowing an onion on stage, one of Terry's famous requests he gave to his acts. He was named the "Three Deck Wizard" after playing on three turntables simultaneously at the Second Summer of Love in 1988.[citation needed] He has performed at clubs such as The Eclipse, Edge, Shelly's, Sterns Nightclub, Heaven, Sir Henry's in Cork, Ireland and Angels and The Haçienda, as well as raves for Fantazia, Dreamscape, and Amnesia House. He now spearheads two record labels, Intec Records and 23rd Century Records. He also has his own stage every year at Ultra Music Festival called Carl Cox and Friends.
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Carl Craig
Carl Craig is a Detroit-based producer of techno music, and is considered to be one of the most important names in the Detroit second generation of techno producers and DJs. According to an article about Craig, "Of this group, Craig was often recognised as being the most artful and the most willing to engage the rapidly growing shape of techno outside Detroit." Carl Craig has approached techno using inspiration from a wide range of musical genres, including jazz and soul.
Carl Craig has released many successful albums under a large number of aliases, such as BFC, Psyche, Paperclip People, 69, Designer Music and Innerzone Orchestra. He also had a hugely successful collaboration album with NYDJ Patrick Picasso. Using one alias, Innerzone Orchestra, he released perhaps his best-known track "Bug in The Bassbin" in 1992, a track that many regard as being a key influence in the then evolving sound of drum and bass.
Carl Craig has also created his own record label called Planet E Communications, which apart from his own work, has released records by well known techno and house artists like Kevin Saunderson, Alton Miller and Moodymann.
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Charanjit Singh
Charanjit Singh (born 3 February 1931 in Nehari, Punjab ( Now in Himachal Pradesh) ) is a former field hockey player from India. He captained the Indian hockey team that won the gold medal in the 1964 Summer Olympics at Tokyo, Japan.
He retired as Director Department of Physical Education in Himachal Pradesh University, Shimla. He currently stays in Una. , Himachal Pradesh. He is having two sons and a daughter Kiran.
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Claudio Simonetti
Claudio Simonetti (born February 19, 1952 in São Paulo, Brazil) is an Italian composer who has specialized in the scores for Italian and American horror films since the 1970s.
He was also the keyboard player for the Italian progressive rock band Cherry Five/Goblin.
Simonetti is probably best-known for his electronic score to the George A. Romero classic Dawn of the Dead, but is also highly-regarded for his work in the films of Italian horror maestro Dario Argento, with whom he has worked almost exclusively since 1975. Goblin's score to his film Profondo rosso was one of the highest-selling horror movie soundtracks ever produced.
When Goblin disbanded in 1979, Claudio began his solo career as an electronic musician. However, the band reunited in 2000 to score the Argento film Nonhosonno and received outstanding critical acclaim.
Beginning in 1978, Claudio founded a number of electronic disco projects. In 1979, with Giancarlo Meo, he formed perhaps his best-known project behind singer Vivien Vee (Viviana Andreattini), whose song "Give Me a Break" became a minor hit in the American dance charts. Later Vivien Vee tracks particularly "Blue Disease" from 1983, showcased some of the darker and edgier sounds familiar from the Goblin years. Another project was Easy Going, with "Fear" from 1979, also an American hit. In 1983, he was the central member of the Italo disco group Crazy Gang.
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Cristian Vogel
Cristian Vogel (born Santiago, Chile 1972) is an experimental electronic musician.
Cristian Vogel was born in Chile and moved to England in the mid 1970s. Vogel first began working with electronic compositions in the late 1980s with the Cabbage Head Collective (working with Si Begg, among others). He attended the University of Sussex, under the tutorship of Martin Butler (composer) and Jonathan Harvey (composer) and graduated with a degree in 20th Century music, suffusing his techno compositions with influences from musique concrète and other avant-garde styles.
In the early 1990s, Vogel issued two EPs on Dave Clarke's Magnetic North Records label, the first of which was the underground success, Infra. After further solo EPs and collaborations with emerging UK techno artists such as Russ Gabriel, Neil Landstrumm and Dave Tarrida, Vogel released his debut full-length, Beginning to Understand, in 1994 on Mille Plateaux, and subsequently became the first UK techno artist to be signed to Berlin's Tresor Records. He also started the vinyl only label Mosquito with Si Begg, on which he released both his own music and other artists', and is considered to be one of the main founders of the No-Future collective that was active in Brighton during the mid-nineties.
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Daniel Bell
Daniel Bell (May 10, 1919 – January 25, 2011) was an American sociologist, writer, editor, and professor emeritus at Harvard University, best known for his seminal contributions to the study of post-industrialism. He has been described as "one of the leading American intellectuals of the postwar era." His three best known works are The End of Ideology, The Coming of Post-Industrial Society and The Cultural Contradictions of Capitalism.
Daniel Bell was born in 1919 in the Lower East Side of Manhattan in New York City. His parents, Benjamin and Anna Bolotsky, were originally from Eastern Europe. They worked in the garment industry. His father died when he was eight months old, and he grew up living with relatives along with his mother and his older brother. At age 13, the family name was changed from Bolotsky to Bell.
Bell graduated from Stuyvesant High School and City College of New York with a bachelor's degree in science and social science in 1938, and studied for one year further at Columbia University (1938–1939).
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Danny Rampling
Danny Rampling is a British House Music DJ and is widely credited as one of the original founders of the UK's rave/club scene. His long career began in the early 1980s playing hip-hop, soul and funk around numerous bars and clubs in London.
During a holiday in Ibiza in 1987, Rampling, along with fellow DJs Paul Oakenfold and Nicky Holloway, attended Amnesia, a then open air nightclub in San Rafael. At the club the group were introduced to the unique eclectic style of DJ Alfredo, playing, among other genres, the new house music that had been exported from the USA. The group also discovered the music's powerful combination with the drug Ecstasy,(MDMA) that reduced inhibitions and created a sense of oneness on the dance floor.
Upon his return to England, Rampling, along with his then wife, Jenny, attempted to recreate the Ibizan experience by promoting what is regarded as the UK's first Balearic rave club, Shoom. Shoom ran for three years, starting out at a gym in Southwark, London. It was a launching point for acid house culture[citation needed], while contributing to worldwide dance culture.
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Darren Emerson
Darren Emerson (born 30 April 1971, Hornchurch, England) is a dance music DJ, and former member of the UK electronic music outfit, Underworld.
Emerson began mixing Hip-Hop records at the age of 14, and by 16 was DJing regularly at local venues. He began to explore House Music and quickly acquired a reputation as one of the top British DJs, and demand for his services saw him playing at top clubs such as The Milk Bar, Limelights, and Venus. Darren has garnered several accolades such as "DJ of the Month" in The Face magazine, and also i-D magazine.
In 1990, Martin Prudence, brother-in-law of Rick Smith, introduced him and Karl Hyde invited him to become the third member of techno band Underworld. 1993's dubnobasswithmyheadman was their commercial breakthrough onto the then burgeoning British electronica scene. While working on their second album, 1996's Second Toughest in the Infants, they released the single "Born Slippy .NUXX", which was an instant hit following its inclusion on the soundtrack to the movie, Trainspotting.
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Dave Angel
David Angelico Nicholas Gooden (born 13 May 1966), better known as Dave Angel, is an English techno musician.
Angel was born in Chelsea, London in 1966. He is the son of a London-based jazz musician, and the elder brother of rapper Monie Love. He had an unorthodox musical education; his father influenced him deeply, as did his friends and his environment, including the radio. He listened not only to Miles Davis and Charlie Parker, but also to soul music and funk. Even though he was playing instruments at fourteen, including percussion, his musical development was not easy or straightforward.
His musical career started when he borrowed an old electronic keyboard from a friend and, using a double tape deck, assembled a bassline and drum track, over which he laid "Sweet Dreams (Are Made of This)" by Eurythmics. He called the result his Nightmare mix, and borrowed money from a friend in order to press 500 copies. When BMG, and thus the Eurythmics, learnt of this, Annie Lennox wanted to prevent the sale of what was in effect the pirating of their song; however, her partner Dave Stewart liked the mix, and persuaded her to allow Angel to go ahead. The track, involving elements of jazz, Detroit techno, and breakbeat hardcore, was successful, reaching number twenty-three in the United Kingdom charts.
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DJ Hell
This article is about Helmut Josef Geier. You may also be looking for Darryl Hell.
Helmut Josef Geier, professionally known as DJ Hell (born September 6, 1962 in Altenmarkt an der Alz) is a German house-techno DJ. He is the label boss of International DeeJay Gigolo Records and has been responsible for many of the big records to come out of the electroclash that emerged in Berlin in the mid-nineties. He is seen as the musical initiator of the 80's revival movement later known as electroclash popularizing the music from his hometown Munich from the mid to late 90's.
In 2006, DJ Hell was involved in a German Intel promotional campaign involving five renowned demogroups (Andromeda Software Development, Conspiracy, Fairlight, Farbrausch and mfx), who were set out to create 30-second demos using remixed versions of a DJ Hell track.
DJ Hell's hit single "Keep On Waiting" released as a 12" as Gigolo 122 reference with a remix by Tomas Andersson and a cover designed by French graphic artist Laurent Fetis "Keep On Waiting" was produced using samples as a basic track from a song titled "Blurb" by a New York based group known as Intense Molecular Activity. IMAs 4 track EP was released in 1980 on an independent label.
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DJ Umek
Uroš Umek (born May 16, 1976 in Ljubljana, Slovenia, better known as DJ Umek or simply Umek, is a Slovenian dance-music composer and DJ.
Umek began DJing in 1993 at the age of 17 years. He was among the pioneers of the electronic music in Slovenia. Umek became famous by techno-supporters in Europe about 2001, for his fast mixing skills and his uplifting dj-sets. In the later years he changed his style a little bit. He has released a large number of EPs and anthems and has a reputation as an innovator. In 2006 he released a single "Posing as me" which was a big hit in Slovenia and in 2007 another video supported project with a Croatian singer and lyrics writer Anđa Marić Carbon Occasions. He is known to play the music from 4 turntables simoultaneously. On his birthday May 16 he organises a musical event called Dan elektronike (Day of electronics). He is the owner of 2 record labels called Consumer recreation and Recycled loops. He was ranked at position 29 of the TOP 100 DJs for the year 2007 by the DJ Magazine. Some people regard Umek as one of the Top 10 Techno DJs in the world.
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Donna Summer
LaDonna Adrian Gaines (December 31, 1948 – May 17, 2012), known by the stage name Donna Summer, was an American singer and songwriter who gained prominence during the disco era of the late 1970s. She had a mezzo-soprano vocal range, and was a five-time Grammy Award winner. Summer was the first artist to have three consecutive double albums reach number one on the United States Billboard chart, and she also charted four number-one singles in the United States within a 13-month period.
Born into a devoutly Christian lower middle class African American family in Boston, Massachusetts, Summer first became involved with singing through church choir groups before joining a number of bands influenced by the Motown Sound. Influenced by the counterculture of the 1960s, she became the front singer of a psychedelic rock band named Crow and moved to New York City. Joining a touring version of the musical Hair, she spent several years living in West Germany, where she married Helmut Sommer, whose surname she adopted as her stage name.
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Drexciya
Drexciya was an electronic music duo from Detroit, Michigan. The late James Stinson was the only officially identified member of Drexciya, but it was considered an open secret that he had a partner, Gerald Donald.
The majority of Drexciya's releases were in the style of dance-floor-oriented Electro, punctuated with elements of retro, 1980s Detroit Techno, with occasional excursions into the Ambient and Industrial genres. Tracks are mostly centered around the TR-808 drum machine, with bass, melodies, and synth textures ebbing and flowing in time. Anecdotes suggest that Stinson and Donald recorded tracks while playing the instruments live, making use of analog equipment and sequencing methods.
Drexciya combined a faceless, underground, anti-mainstream media stance with mythological, sci-fi narratives, to help heighten the dramatic effect of their music. In this aspect they were similar to artists within and close to the Detroit collective Underground Resistance.
Drexciya released their first 12-inch single in 1992.
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Frankie Bones
Frankie Bones (real name Frank Mitchell) is an American techno and house music disc jockey from New York City. He is best known for bringing the rave culture to the United States after playing at a hangar party in the UK during 1989. Frankie Bones, the first American DJ to play these raves, is considered to be 'The Godfather of American Rave Culture'.
He got his first inspiration from his father's vast record collection after his father was murdered. Later on, after he had begun producing records, he was offered a gig to play for 5,000 people in England called "Energy" on the strength of his compositions. As the event started on August 26, 1989, the projected attendance had gone through the roof and Frankie played to 25,000 people while the sun came up.
Being profoundly moved by the experience, he brought it back to Brooklyn in the form of his series of Storm Raves. The Storm Raves events began with only a few hundred people in attendance growing to over 5,000 where the likes of Josh Wink, Doc Martin, Sven Vath, DJ Keoki and Richie Hawtin were able to launch their performances into international careers. The Berlin Love Parade, which is generally considered to be the largest rave in the world, named its 1991 and 1992 Parades after well-known compositions by Frankie Bones.
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Frankie Knuckles
Frankie Knuckles (born January 18, 1955, New York) is an American DJ, record producer and remix artist. He played an important role in developing house music (an electronic, disco-influenced dance music) as a Chicago DJ in the 1980s and he helped to popularize house music in the 1990s, with his work as a producer and remixer. In 2005, Knuckles was inducted into the Dance Music Hall of Fame for his achievements as a DJ.
While studying textile design at FIT in Manhattan, Knuckles began working as a DJ, playing soul, disco and R&B at The Continental Baths with fellow DJ Larry Levan. When he became better known, he DJed at the club Better Days. When the Warehouse club opened in Chicago in 1977, he was invited to play on a regular basis. He continued DJing there until 1982, when he started his own club, The Power Plant.
It is possible that the term 'house music' surfaced in reference to the sounds played at the Warehouse by Knuckles.[citation needed] Initially it was a catch-all term to describe the wide range of music being played at the Warehouse. It soon became the word used to define the raw, drum machine based edits and tracks that Knuckles was playing in the early 1980s. Knuckles bought his first drum machine from a young Derrick May who regularly made the trip from Detroit to see Knuckles at the Warehouse, and Ron Hardy at the Music Box.
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Front 242
Front 242 is a Belgian electronic music group that came into prominence during the 1980s. They are known for being a pioneer of electronic body music, and as an influence on the electronic and industrial music genres.
When industrial music developed in England in the mid-1970s with Cabaret Voltaire and Throbbing Gristle, these groups used electronic instruments, percussion with found objects, and looped samples of "found" soundbites, elements later taken up by Front 242. These techniques can be seen as an extension of the use of electronic sources of sound as musical instruments and percussion with found objects by composer Edgard Varèse.[citation needed]
Front 242 was created in 1981 in Aarschot, near Brussels, Belgium, by Daniel Bressanutti and Dirk Bergen, who wanted to create music and graphic design using emerging electronic tools. The first single, "Principles", was released in 1981. The front part of the name comes from the idea of an organized popular uprising. Patrick Codenys and Jean-Luc De Meyer had separately formed a group called Under Viewer at around the same time, and the two duos joined together in 1982. Bressanutti, Codenys and De Meyer took turns on vocals at first, until they settled on De Meyer as the lead vocalist (early recordings with Bressanutti on vocals were subsequently released in 2004). De Meyer came to write most of the lyrics and Valerie Jane Steele also wrote several tracks including "Don't Crash". They decided not to use the regular waveform settings on their synthesizers, arguing that creating the waveform for each note was part of the creative process.[citation needed]
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Gary Numan
Gary Numan (born Gary Anthony James Webb on 8 March 1958) is an English singer, composer, and musician, most widely known for his chart-topping 1979 hits "Are 'Friends' Electric?" (as Tubeway Army) and "Cars". His signature sound consisted of heavy synthesiser hooks fed through guitar effects pedals.
Numan is considered a pioneer of commercial electronic music. His use of themes from science fiction, and his combination of aggressive punk energy with electronics, have been widely imitated.
Born in Hammersmith, Gary Anthony James Webb was the son of a British Airways bus driver based at Heathrow Airport. Webb was educated at Town Farm Junior School Stanwell, Ashford County Grammar School, Middlesex, Slough Grammar School and Brooklands Technical College. He joined the Air Training Corps as a teenager. He then briefly did various jobs including fork lift truck driver, air conditioning ventilator fitter and clerk in an accounts department. A guitar was purchased for him at an early age and he began writing songs when he was about 15 years old. He played in various bands, including Mean Street and The Lasers, before forming Tubeway Army with his uncle, Jess Lidyard, and Paul Gardiner. His initial pseudonym was "Valerian", probably in reference to the hero in French science fiction comic series Valérian and Laureline. Later he picked the name "Numan" from an advert in the "Yellow Pages" for a plumber "A. Neumann".
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Giorgio Moroder
Hansjörg "Giorgio" Moroder, named on record sleeves often only Giorgio (born 26 April 1940, Urtijëi, South Tyrol, Italy) is an Italian (of Ladin ethnicity) record producer, songwriter and performer based in Los Angeles. When in Munich in the 1970s, he started his own record label called Oasis Records, which several years later became a subdivision of Casablanca Records. He collaborated with Donna Summer during the era of disco (including "Love to Love You Baby" and "I Feel Love") and is the founder of the former Musicland Studios in Munich, which was used as a recording studio by artists including the Electric Light Orchestra, Led Zeppelin, Queen and Elton John.
In addition to producing several hits with Donna Summer, Moroder also produced a number of electronic disco hits for The Three Degrees, two albums for Sparks, a handful of songs on Bonnie Tyler's album Bitterblue as well as her 1985 single "Here She Comes" and a score of songs for performers including David Bowie, Irene Cara, Madleen Kane, Melissa Manchester, Blondie, Japan, and France Joli.
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Graham Massey
Graham Massey (born 4 August 1960, Manchester) was a founding member of the British band, 808 State, formed in 1988 in Manchester, England. Originally a hip-hop group called Hit Squad Manchester, the band shifted to an acid house sound, recording their debut album, Newbuild in 1988 under the new name 808 State.
The band was named after Massey's favourite drum machine, the Roland TR-808, ironically later admitting that until the late 1980s they thought Roland drum machines were "severely uncool." Massey had also been a member of the D.I.Y. band Danny And The Dressmakers doing a mixture of "bad" music and Gong covers (living up to their tagline "We don't play our instruments, we abuse them") and also hippy - fusion band Aqua in the 1970s, along with violinist Graham Clark (also later of Gong).
Massey worked with Björk on her first solo album named Debut, which sold almost three million copies. He then subsequently worked with Björk on her next album Post, which became her second biggest selling album after Debut.
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James Pennington
James Pennington, also known as Suburban Knight, is an artist and DJ and Producer with Underground Resistance (UR), an independent record label based in Detroit, USA. Music by Pennington and other UR members was featured in the video game Midnight Club 3: Dub Edition, which is set on the streets of Detroit.
Pennington pioneered the Detroit techno scene since the mid '80s with moody tracks like "The Art of Stalking" and "The Groove".
With the rise of Detroit's second wave in the early 1990s, Pennington became a mentor for Mike Banks and the Underground Resistance crew. With Underground Resistance, he released the singles "Nocturbulous Behavior" and "Dark Energy". He also featured on the Submerge label compilation Depth Charge, Vol. 3, and produced tracks for Underground Resistance's 1998 full-length Interstellar Fugitive. James' Debut album 'My Sol Dark Direction' was released to critical acclaim including both classics and new, unreleased productions.
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Jean-Marc Cerrone
Marc Cerrone (born 24 May 1952, Vitry-sur-Seine, near Paris, France) is a French disco drummer, singer-songwriter and record producer.
Marc Cerrone has sold over thirty million albums and has often performed in front of hundreds of thousands of people at huge concerts and events such as The 2005 Dance Party Live in Versailles and The 2000 Los Angeles Millennium Célébration where, at the request of the Mayor of Los Angeles, Cerrone staged the initials Hollywood and produced an exceptional opera. Also in 1989, he performed in the concert at Paris's Place de la Concorde for the celebration of the bicentenary of the Revolution in front of more than 600,000 spectators. In 1991 he performed a concert event for the launch of the first satellite TV HD in Japan (Tokyo). He claims, and it is often credited by others, that he was "the first" to put the kick drum (or bass drum) into the foreground of modern dance music.
At the age of 12, he started playing drums and listening to Otis Redding songs. Cerrone's passion for music was discouraged by his father, who tried to distract him from his obsession. By the end of the 1960s, he was fascinated by Jimi Hendrix, Carlos Santana and Blood, Sweat & Tears, amongst others.
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Jeff Mills
Jeff Mills (born 18 June 1963 in Detroit, Michigan) is an American techno DJ and producer.
Starting in the early 1980s, Mills, using the name "The Wizard", was a recurring guest DJ on "The Electrifying Mojo" radio show on WJLB. He performed DJ tricks like beat juggling and scratching during his sets, some of which were pre-recorded.
Mills and former Parliament bass player 'Mad' Mike Banks were founding members of Detroit techno collective Underground Resistance (UR), which embraced revolutionary rhetoric and only appeared in public dressed in ski masks and black combat suits.
Mills never officially left UR, but did relocate from Detroit, first to New York, then Berlin (as a resident at the Tresor club), and then Chicago. There in 1992, with fellow Detroit native Robert Hood, he set up the record label Axis, and later, sub-labels Purpose Maker, Tomorrow, and 6277, all aiming for a more minimal sound than most of the techno being produced in those years.
In his DJ sets, Mills usually uses three decks, a Roland TR-909 drum-machine, and up to seventy records in one hour. Mills' Exhibitionist DVD, from 2004, features him mixing live on three decks and CD player in a studio.
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John Acquaviva
John Acquaviva (born in 1963 in Orsara di Puglia) is an Italian-born Canadian second-wave techno artist and club DJ from London, Ontario. His friend Richie Hawtin co-founded the Plus 8 record label with him in 1990.
In 2006, Acquaviva reached #22 on the DJ Mag 2006 list.
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John Peel
John Robert Parker Ravenscroft, OBE (30 August 1939 – 25 October 2004), known professionally as John Peel, was an English disc jockey, radio presenter, record producer and journalist. He was the longest-serving of the original BBC Radio 1 DJs, broadcasting regularly from 1967 until his death in 2004. He was known for his eclectic taste in music and his honest and warm broadcasting style.
He was one of the first broadcasters to play psychedelic rock and progressive rock records on British radio, and he is widely acknowledged for promoting artists working in various genres, including pop, reggae, indie rock, alternative rock, punk, hardcore punk, breakcore, grindcore, death metal, British hip hop, and dance music.
Peel's Radio 1 shows were notable for the regular 'Peel sessions', which usually consisted of four songs recorded by an artist live in the BBC's studios, and which often provided the first major national coverage to bands that later would achieve great fame. (These 'sessions' are similar to 'Live Lounge' sessions recorded today for the station.) Another popular feature of his shows was the annual Festive Fifty countdown of his listeners' favourite records of the year.
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Keith Tucker
Keith Tucker is an American electronic musician and DJ from Detroit, Michigan.
Tucker began his career playing cover versions of Juan Atkins’ Electro hits from the 1980s with his childhood friend Tommy Hamilton. The live ensemble achieved local renown for combining break-dancing, and Tucker's mobile DJ-ing while manually playing repetitive, high-speed synthesizer basslines. They later became known as Regime, then RX-7, and finally, in 1994 they became Aux 88. They were joined by BJ Smith (Posatronix) and Lamont Norwood (DJ Dijital).
Tucker's first 12" EP was a collaboration with Juan Atkins and Jesse Anderson, under the name “Frequency” in 1990. Aux 88 released the album "Bass Magnetic" and were the first group to revive Electro in the mid-to-late 1990s. As such they have been credited with eventually inspiring the genre known as electroclash. In the mid-nineteen ninteties they described their own sound as Techno-Bass, a fusion of influences from Detroit Techno, Electro, Miami Bass and Trance.
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Ken Ishii
Ken Ishii (ケン・イシイ?) is a Japanese techno DJ and producer from Sapporo. He graduated from Hitotsubashi University. He has released work under his own name as well as under the pseudonyms: FLR, Flare, UTU, Yoga, and Rising Sun.
Strongly influenced by Detroit techno, Ken Ishii had his first release on Richie Hawtin's label Plus 8. He composed the music for the opening ceremonies to the 1998 Winter Olympics in Nagano. He provided a track for the 2001 video game Rez by Sega: Creation The State Of Art which is the music used in the third level of the normal game, as well as music for the game LSD. His track "Let It All Ride" has also been used in the PSP video game Lumines II.
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Kenny Larkin
Kenny Larkin (who also releases as Dark Comedy) is an American techno producer from Detroit. He has been described by Allmusic as "massively influential" on American, British, and German techno.
Larkin was born and raised in Detroit, but did not participate in the early years of Detroit techno because he was serving in the military. Upon his return, he began producing, influenced by Juan Atkins and Derrick May, as well as the Chicago house music scene. His early single releases, "We Shall Overcome" and "Integration", were issued on Plus 8, a label overseen by Richie Hawtin and John Acquaviva; later released appeared on Buzz and Warp as well as other labels. His records have seen more success in continental Europe than in the U.S..
Late in the 1990s, Larkin began working as a stand-up comedian into the 2000s. His musical output has slowed as a result.
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Kevin Saunderson
Kevin Saunderson (born Kevin Maurice Saunderson, September 5, 1964, Brooklyn, New York) is an American electronic music producer. At the age of nine he moved to Belleville, Michigan, a suburb of Detroit where he attended Belleville High School and befriended two students, Derrick May and Juan Atkins. Saunderson, with Atkins and May, (often called the "Belleville Three"), is considered to be one of the originators of techno, specifically Detroit techno. He is married to Sharmeela Lamarsha Saunderson.
Although frequently associated with Detroit, Kevin Saunderson spent the early years of his life in Brooklyn, New York, before moving to Belleville, Michigan, a rural town some 30 miles from Detroit. As teenagers attending Belleville High School, Atkins, May, and Saunderson were fans of DJ Charles "The Electrifying Mojo" Johnson and the pop, disco, and funk music he played. Atkins and May soon became serious about mixing others' music and creating their own, but Saunderson pursued other goals first, studying telecommunications and playing American football at Eastern Michigan University. Atkins had begun recording with Cybotron in 1981, but it was not until 1985 that May followed suit and made a record. Initially concentrating on becoming a DJ, Saunderson watched the six-month-long process as May completed "Let's Go;" he was inspired to create his own music.
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Kirk Degiorgio
Kirk Degiorgio, better known as As One, is a British techno producer and DJ. Born in the late 60s in Stepney, east London, and raised in Suffolk, he started producing music in the early 90s. He founded the labels A.R.T. Records and Op-Art Records and releases on them as well as B12 Records, R&S Records, New Electronica, and others. His style is a mixture of Detroit-style techno, mixed with funk, soul and jazz fusion.
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Kodwo Eshun
Kodwo Eshun (born 1967) is a British-Ghanaian writer, theorist and film-maker. He studied English Literature (BA Hons, MA Hons) at University College, Oxford University, and Romanticism and Modernism MA Hons at Southampton University. He is currently course leader of the MA in Aural and Visual Cultures at Goldsmiths College, University of London.
Eshun's writing deals with cyberculture, science fiction and music with a particular focus on where these ideas intersect with the African diaspora. He has contributed to a wide range of publications, including The Guardian, The Face, The Wire, i-D, Melody Maker, Spin, Arena, Frieze, CR: The New Centennial Review and 032c.
Eshun's book More Brilliant than the Sun: Adventures in Sonic Fiction was published in 1998 and is “At its simplest... a study of visions of the future in music from Sun Ra to 4 Hero”. Written in a style that makes extensive use of neologism, re-appropriated jargon and compound words, the book explores the intersection of black music and science fiction from an afrofuturist viewpoint.
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Laurent Garnier
Laurent Garnier (also known as Choice), (born 1 February 1966, Boulogne-sur-Seine, France) is a French techno music producer and DJ. Garnier began DJ-ing in Manchester during the late 1980s. By the following decade, he had a broad stylistic range, able to span deep house, Detroit techno, trance and jazz. He added production work to his schedule in the early 1990s, and recorded several albums.
During the late 1970s, Garnier discovered clubbing with his brother in Paris, where his family lived. He loved disco but also listened to all other contemporary musical genres including reggae, funk, and punk. At the age of 16, Garnier had started recording and mixing music on tape recorders.
In 1984, Garnier started working as a waiter for the French Embassy in London. He stayed there for a year and a half before moving to Manchester in 1986. Living in England he discovered the booming UK house scene and started DJing.
In 1987, he discovered the The Haçienda in Manchester, and met Mike Pickering the resident DJ. Chicago house and Detroit techno became popular, and Garnier started mixing there under the name of DJ Pedro.
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LFO (band)
LFO is an English electronic music act on the Warp Records label. LFO were pioneers of the bass-heavy techno, IDM, and acid house music of the late 1980s to mid-1990s. Originally, the group was composed of Gez Varley and Mark Bell. LFO is now Bell alone.
The group's name is derived from the abbreviation for the term low-frequency oscillator; a synthesizer function widely used in electronic music, especially dubstep.
Varley and Bell met while studying at Leeds and gave their first track, the eponymous "LFO", to Nightmares on Wax. The popularity of the demo in clubs led to the track being released by the Sheffield-based Warp Records in 1990, and it was a Top 20 hit in the U.K., reaching number 12 in the singles charts in July.
Their follow-up single, "We Are Back", was released in the summer of 1991.
DJ Martin (Martin Williams) is credited as a cowriter and coproducer of the track "LFO" but was not a member of the group. Mark Bell explains:
"We gave a tape of our recordings to DJ Martin who helped loads with arranging our tracks so it'd work on the dancefloor. We'd just been messing around with drum machines since we were like thirteen, tapping away at them like they were arcade games, making tapes to play our mates at school. Anyway, DJ Martin would play our cassettes in his sets and people would go mental - in a good way - cos they were totally raw."
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Manuel Göttsching
Manuel Göttsching (born September 9, 1952 in Berlin) is a German musician and composer.
As the leader of the group Ash Ra Tempel or Ashra, one of the most notable German groups of the 1970s and 80s, as well as a solo artist, he is one of the most important guitarists of the Kosmische Musik genre. He also participated in the Cosmic Jokers sessions. His style and technique influenced dozens of artists in the post-Eno ambient and New Age scenes in the 1980s and 1990s. His 1984 album E2-E4 has also been influential in the development of house and electronic music in general.
In 2000 Göttsching and Klaus Schulze released a studio album and a live album as Ash Ra Tempel. The live album was recorded as part of the Cornucopea concerts organised by Julian Cope at the Royal Festival Hall in London, England.
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Mark Moore
Mark Moore (born 12 January 1965, London) is a British dance music record producer and DJ. He was founder of the pop/sampling pioneers S'Express, and runs the London nightclubs, 'Electrogogo' and 'Can Can'.
Moore began his DJ career in 1983 playing at the fashionable London club, 'The Mud Club', run by Philip Sallon. Later that year as his popularity grew he was given a slot at the alternative, mixed/gay night 'Asylum' at Heaven nightclub which later became 'Pyramid' at Heaven. He soon became a successful DJ often appearing in Time Out's 'best DJ' polls. As well as playing new-wave electronic dance music, such as Yello, Cabaret Voltaire, Soft Cell and New Order; Moore was one of the first DJs in the UK to support and play Chicago House music and Detroit Techno.
In 1988 Moore launched S'Express with co-writer/co-producer Pascal Gabriel. The first single "Theme From S'Express" went to number 1 in the UK Singles Chart, and is credited by Muzik magazine as 'kick starting the UK house scene'. This was followed up with "Superfly Guy" which reached number 5 in the UK Chart.
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Marshall Jefferson
Marshall Jefferson (born September 19, 1959, Chicago, Illinois) is an American musician, working in house music, in particular, the subgenres of Chicago house and deep house.
Jefferson was originally a record producer in the Universal Recording Studios in Chicago, where he met the owner of Trax Records, Larry Sherman. Jefferson's 1986 single for Trax, "Move Your Body (The House-Music Anthem)," the first house song to use piano, was a popular and influential song in the genre. During the late-1980s heyday of house music he recorded solo and collaborative material under various names such as Virgo, Jungle Wonz, Truth and On The House. Jefferson's deep house productions include songs by CeCe Rogers and Sterling Void, and Ten City's first two albums. In March 1987, the British music magazine NME reported that Jefferson and Frankie Knuckles were in the UK for the first house-music tour.
"Move Your Body" appeared in the video game Grand Theft Auto: San Andreas, playing on house-music radio station SF-UR. This song also appeared in Michael Winterbottom's film 24 Hour Party People and in the 1991 documentary film Paris is Burning. Music enthusiast Web site digitaldreamdoor.com ranked it as the greatest house-music song of all time.
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Marusha
Marusha, real name Marusha Aphrodite Gleiß (born 18 November 1966 in Nuremberg, Germany) is a German Techno, Happy hardcore, Breakbeat and Eurodance artist/DJ, who was on the hit lists in the mid '90s.
Her greatest hit was the rave version of "Somewhere Over the Rainbow" in 1994 (Ger #3, Austria #13, CH #2, NL #6, Italy #20, Belgium (Fl)28), the famous song from the movie The Wizard of Oz. Some other hits were "It takes me away" (Ger #3, 1994), "Raveland" (Ger #29, 1994), "Deep" (Ger #11, 1995), "Unique" (Ger #35, 1995), "Secret" (Ger #92, 1996), "UR life" (Ger #34, 1997), "My best friend" (Ger #73, 1997), "Free love" (Ger #97, 1998) and "Ultimate sound" (Ger #70, 1998). Marusha's career began in 1991 in Berlin with her radio programme "Dancehall" which went out each Saturday on the young people's station DT 64. When DT 64 had to close, Marusha changed the frequency and the name of her show. The Berlin station "Fritz" carried Marusha's "Rave satellite" once a week until 2007. To top this, the media multi-talent Marusha surprised German-speaking television audiences with "Feuerreiter", her TV programme for young people. For 2½ years it was transmitted by ORB and later ARD, and it was considered very popular.
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Mike Pickering
Michael Pickering (born 24 February 1958, Accrington, Lancashire, England) has DJed at The Haçienda's infamous "Nude" and "Hot" nights and later "Shine". He worked for Factory Records where he signed Happy Mondays, To Hell With Burgundy and James amongst others. He was the founder, writer and producer of Quando Quango and later M People, playing the saxophone, and acting as a backing singer.
Pickering now works as Head of A&R within the Columbia label of Sony BMG where he A&Rs The Gossip, Calvin Harris, Kasabian, The Ting Tings and Diagram Of The Heart.
He appeared as himself in the film, 24 Hour Party People starring Steve Coogan, a film all about Factory Records and Tony Wilson. Pickering is also a supporter of Manchester City Football Club, and appeared in the documentary film about the club, Blue Moon Rising, in 2010 alongside Noel Gallagher.
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Moby
Richard Melville Hall (born September 11, 1965), better known by his stage name Moby, is an American musician, DJ, and photographer. He is known mainly for his sample-based electronic music and his liberal political views, including his support of veganism and animal rights.
Moby gained attention in the early 1990s with his electronic dance music work, which dabbled in the techno and breakbeat hardcore (also known as "rave") genres. With his fifth studio album, the electronica and house-influenced Play, he gained international success. Originally released in mid-1999 to an unflattering response, it re-entered the charts in early 2000 and slowly became an unexpected hit, producing eight singles and eventually selling over 10 million copies worldwide.
Moby followed the album in 2002 with 18, which was also successful, selling over 5 million copies worldwide and receiving mostly positive reviews, though some criticizing it for being too similar to Play. His next offer, 2005's mostly upbeat Hotel was a stylistic departure, incorporating more alternative rock elements than previous albums, and received mixed reviews. However, it still sold around 2 million copies worldwide. After 2008's dance-influenced Last Night (2008), he returned to the downtempo electronica of Play and 18 with 2009's mostly-ambient Wait for Me, finding higher critical acclaim and moderate sales. Moby's latest album, Destroyed., was released on May 13, 2011.
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Moritz Von Oswald
Moritz von Oswald (born in 1962), half of both Basic Channel and Maurizio, went on to become one of the most influential producers of techno music in the 1990s. In the 1980s he was percussionist for Palais Schaumburg and Associates, but would segue into electronic music by the late 80s and early 90s. He did this first in 2MB and 3MB (with Thomas Fehlmann), and later he co-founded the Basic Channel label with Mark Ernestus, whose various releases came to epitomize minimal techno. As part of the Berlin/Detroit axis, Basic Channel characterized minimal techno along with other artists like Rob Hood, Jeff Mills, Mike Banks, and UR. Living in Berlin, von Oswald was also part of a music scene that pivoted around the Tresor Club and record label, as well as Hard Wax, the record store founded by Ernestus. Basic Channel and Maurizio records are characterized by a 4x4 beats with dub-inflected syncopated synth pads slowly modulated over time, most 12"s containing tracks that take up the entire side of each record. Their work was highly influential for Richie Hawtin, Thomas Brinkmann, Robert Henke (aka Monolake), Wolfgang Voigt, and later through artists whose records were released on the label Chain Reaction Records, part of the Basic Channel family. His work with Mark Ernestus as Rhythm & Sound fused his interests in dub reggae and techno even further, where Jamaican vocalists sing or speak over stripped down techno beats and bass. His most recent releases are with the Moritz von Oswald trio.
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Napalm Death
Napalm Death are an extreme metal band formed in Birmingham, England in 1981. While none of its original members remain in the group, the lineup of vocalist Mark "Barney" Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera has remained consistent for most of the band's career.
Napalm Death are credited with defining the grindcore genre by incorporating elements of hardcore punk and death metal, short songs, fast tempos, deep guttural vocals and sociopolitical lyrics. The band's debut album Scum, released in 1987 by Earache Records, proved substantially influential throughout the global metal community.
Napalm Death have released fifteen studio albums and are listed by Nielsen SoundScan as the seventh best-selling death metal band in the United States.
Napalm Death were formed in the village of Meriden near Birmingham, in the United Kingdom, in May 1981 by Nic Bullen and Miles Ratledge while the duo were still in their early teenage years. The duo had been playing in amateur bands since 1980 as an extension of their fanzine writing, and went through a number of names (including "Civil Defence," "The Mess," "Evasion" and "Undead Hatred") before choosing Napalm Death in mid 1981.
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Oliver Lieb
Oliver Lieb (born December 31, 1969, Frankfurt, Germany) is a German electronic music producer and DJ. Lieb is known to have more than a dozen aliases with over 200 productions and remixes in various electronic genres such as, trance, house, and techno. He has also produced tracks for other artists. One such production was "Electric Blue", a track by Mars & Mystre.
Lieb began his musical career at the age of fourteen, as a bassist, playing in funk and soul bands. However, he often left the bands he played in before they found any real success. Eventually he started exploring electronic music.
His first records, under the alias 'Force Legato', were released by ZYX Music. In 1992, Lieb met Matthias Schindehutte, A&R man for the newly formed Harthouse record label, who contracted him for the Spicelab project. At the same time, Lieb started work on harder tracks, released using the alias Psilocybin. 1993 saw his first releases under the alias L.S.G., which he discontinued in 2007. In 1994, he first co-operated with Harald Großkopf (whom he later also performed with live), releasing tracks using the alias The Ambush.
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Pacou
Pacou is a German techno music producer. He has released albums and EPs on his own label, LL Records, as well as on the Berlin-based Tresor label, Djax-Up-Beats, Konsequent, and Music Man Records. He records under the monikers Pacou and Agent Cooper.
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Paris Grey
Paris Grey (born Shanna Jackson, November 5, 1965, Glencoe, Illinois, United States) is an American singer, most known for her work with the Detroit-based techno-music producer Kevin Saunderson, as Inner City. The group found international crossover success in the late 1980s and early 1990s with a mixture of electronic beats, sweeping synthetic strings, and Paris's soulful vocals on tracks such as "Good Life," "Big Fun," and "Ain't Nobody Better."
Grey recorded three Inner City albums, a Detroit techno compilation album, and an extended remix collection of Inner City tracks. A notable project for Grey prior to joining Inner City was the Chicago House 12-inch club hit "Don't Make Me Jack (Tonite I Wanna House You)" on Housetime Records. Originally, Grey sang gospel music.
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Parliament (band)
Parliament was a funk band most prominent during the 1970s. It and its sister act Funkadelic, both led by George Clinton, began the funk music culture of that decade.
Parliament was originally The Parliaments, a doo-wop vocal group based at a Plainfield, New Jersey barber shop. The group was formed in the late 1950s and included George Clinton, Ray Davis, Fuzzy Haskins, Calvin Simon, and Grady Thomas. Clinton was the group leader and manager. The group finally had a hit single in 1967 with "(I Wanna) Testify" on Revilot Records. To capitalize, Clinton formed a backing band for a tour, featuring teenage barbershop employee Billy Bass Nelson on bass and his friend Eddie Hazel on guitar, with the lineup eventually rounded out by Tawl Ross on guitar, Tiki Fulwood on drums, and Mickey Atkins on organ.
During a contractual dispute with Revilot, Clinton temporarily lost the rights to the name "The Parliaments," and signed the ensemble to Westbound Records as Funkadelic, which Clinton positioned as a funk-rock band featuring the five touring musicians with the five Parliaments singers as uncredited guests. With Funkadelic as a recording and touring entity in its own right, in 1970 Clinton relaunched the singing group, now known as Parliament, at first featuring the same ten members. Clinton was now the leader of two different acts, Parliament and Funkadelic, which featured the same members but were marketed as creating two different types of funk.
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Paul Hartnoll
Paul Hartnoll (born 19 May 1968,Dartford, Kent, England, and grew up in Sevenoaks) is one of two brothers (the other being Phil Hartnoll), who made up the electronic dance act Orbital.
Hartnoll played in two local bands during the mid 1980s, named 'Noddy' and the 'Satellites'. In 1987 Paul and his brother Phil began recording under the name Orbital with keyboards, a drum machine, and a 4-track.
He made a guest appearance on ER in 2002, in the role of a DJ.
Orbital split up in 2004, after producing seven albums and developing a reputation for the high quality of their live shows. Hartnoll then worked towards the release of his first solo album, titled The Ideal Condition, which was released on 28 May 2007.
Hartnoll, wishing to produce something different from Orbital's output, wrote The Ideal Condition with a more acoustic focus, in comparison to the electronic nature of most of his previous work. Arranger Chris Elliot helped Hartnoll to move the album in this direction, taking music that Orbital would have produced electronically, and having it played by a union-full orchestra. People who are featured collaborating on The Ideal Condition were Robert Smith, Joseph Arthur, Lianne Hall, and Akayzia Parker.
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Pete Shelley
Pete Shelley (born Peter Campbell McNeish, 17 April 1955 in Leigh, Lancashire) is an English singer, songwriter and guitarist, best known as the leader of the Buzzcocks.
Shelley was born to Margaret and John McNeish at 48 Milton Street, in Leigh. Margaret was an ex-mill worker in the town, while John was a fitter at the nearby Astley Green Colliery. He has a younger brother, Gary.
Shelley formed the Buzzcocks with Howard Devoto after the two met at Bolton Institute of Technology (now the University of Bolton) in 1975 and subsequently travelled to London to see The Sex Pistols. The Buzzcocks debuted in 1976 in Manchester, opening for the Sex Pistols.
In 1977, the Buzzcocks released their first EP, Spiral Scratch, on their own independent label, New Hormones. When Devoto left the group shortly afterwards, Shelley took over as lead vocalist and chief songwriter. Working with producer Martin Rushent, the band went on to create such quintessential punk/new wave singles of the period as "Orgasm Addict", "What Do I Get?", and "Ever Fallen in Love (With Someone You Shouldn't've)" along with three LPs: Another Music in a Different Kitchen (1978), Love Bites (1978), and A Different Kind of Tension (1979). Difficulties with their record company and a dispute with Virgin Publishing over the UK release of their greatest hits record, Singles Going Steady, brought the band to a halt in 1981.
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Raymond Scott
Raymond Scott (born Harry Warnow, September 10, 1908 – February 8, 1994) was an American composer, band leader, pianist, engineer, recording studio maverick, and electronic instrument inventor.
Although Scott never scored cartoon soundtracks, his music is familiar to millions because of its adaptation by Carl Stalling in over 120 classic Bugs Bunny, Porky Pig, Daffy Duck and other Warner Bros. Looney Tunes and Merrie Melodies animated shorts. Scott's melodies have also been heard in twelve Ren & Stimpy episodes (that used the original Scott recordings), while making cameos in The Simpsons, Duckman, Animaniacs, The Oblongs, and Batfink. (The only music Scott actually composed to accompany animation were three 20-second electronic commercial jingles for County Fair Bread in 1962.)
He was born in Brooklyn, New York to Russian Jewish immigrants, Joseph and Sarah Warnow. His older brother, Mark Warnow, a conductor, violinist, and musical director for the CBS radio program Your Hit Parade, encouraged his musical career.
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Regis (musician)
Regis (real name Karl O'Connor) is a British techno musician and record label boss.
As label boss of Downwards Records, O'Connor, alongside his label-mate Surgeon (aka Anthony Child), forged a sound that blended Chicago house with darker European electronics. Although initially his plan was to take a "director of operations" role (he cites Daniel Miller has his greatest influence), O'Connor and his label partner Peter Sutton (aka Female) found it increasingly difficult to find artists to share their vision, and to this day still work with the same core artists.
O'Connor began making music in the early 1990s and founded Downward Records with Sutton in 1993 in the Halesowen area of Birmingham. He set up the Integrale Muzique distribution company in 1996 with Sutton and Antonio Soares-Vieira. Regis' debut EP Montreal included the hypnotic industrial track "Speak To Me". Other releases from the period include the Gymnastics 2x12", and the Application of Language EP, both featuring hard minimal electronica. The era was capped off by a remix of "Totmacher" by DJ Hell. Things came full circle in the late 1990s, when O'Connor went on to work with and produce his childhood heroes Robert Gorl and Chrislo Hass of Deutsch-Amerikanische Freundschaft, but by this time he was already developing a more layered and tonal sound that would become his trademark in the following years.
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Ricardo Villalobos
Ricardo Villalobos (born 1970) is a Chilean-German electronic music producer and DJ. He is well known for his work in the minimal techno and microhouse genres, and is one of the most significant figures in today's minimal techno scene.
Villalobos was born in Santiago, Chile in 1970. In 1973 he moved to Germany with his family to escape the dictatorship of Augusto Pinochet, who had seized power that year.
When Ricardo was around 10 or 11 he started to play conga and bongos. Though he loved music, he could never see himself as a musician.[citation needed] He began making electronic music in the late 80s. From a very young age he has been a big fan of Depeche Mode, even following their tours around Europe to listen to them.
Villalobos began to play his music at parties while he was studying at university, but this was only for his own enjoyment. He started a label, Placid Flavour, in 1993 but this was unsuccessful. His first record was released on the German Playhouse label in 1994 and he began DJing as a professional in 1998.
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Robert Hood
Robert Hood is an American electronic music producer and DJ. He is a founding member of group Underground Resistance as a 'Minister Of Information' with Mad Mike Banks & Jeff Mills. He is often considered to be one of the founders of minimal techno.
Robert Hood has released music under his own name, Monobox, Inner Sanctum, The Vision and other aliases. When recording with Jeff Mills, he has used the alias H&M.
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Si Begg
Si Begg (born 1972) is electronic dance music DJ, musician and record producer Simon Begg, from Leicester, England. His music combines elements of Experimental, Downtempo, Breakbeat Ambient, Drum and bass, Turntablism and Jazz. Begg grew up in Leamington Spa and moved to London in 1991. His recording career began in 1993 and he has used a number of different pseudonyms and band names, and released music in different styles on several record labels.
He has also recorded music for a short films, television advertisements and has performed sound design work for television channels including the BBC, Channel 4 and MTV.
Si Begg studied at Trinity School and Mid Warwickshire college, becoming interested in electronic music from an early age. Begg confessed that the first electronic-based record he ever heard was "Probably Jean Michel Jarre; my uncle used to be into his stuff, and used to play it in the car. My brother's mate's dad also had Tubular Bells and stuff like that. I remember being really into all the sounds and noises, the total futurism. And I was right into Star Wars and Tron and all those kinda kids' sci-fi things."
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Speedy J
Speedy J (born Jochem George Paap in 1969, Rotterdam ), is a Dutch electronic music producer based in the city of Rotterdam. His breakthrough came with the release in 1992 of the minimal techno track Pullover. Subsequently his material became more mellow as he moved away from the hardcore sounds that were then becoming popular in Belgium and the Netherlands.
His debut album Ginger (1993) was released on Richie Hawtin's Plus 8 record label in the US, while in the UK it was part of Warp Records' Artificial Intelligence series of electronic listening music. A further, more introspective release, G-Spot followed in 1995; a live album, !ive, was also released. Afterwards his work, which included Public Energy No.1 (1997) and A Shocking Hobby (2000) became more experimental, importantly influencing the development of what is known as "IDM", or intelligent dance music.
"Upon first impressions, Public Energy No.1 highlights a big departure from previous Speedy J offerings... in a complete role reversal, it enters upon an iconoclastic electro territory more familiar to admirers of such other purveyors as Autechre, the Aphex Twin, Mike Paradinas and Martin Damm in his Steel persona," wrote Andrez Bergen in 1998 for Australian magazine Inpress.
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Stacey Pullen
Stacey Pullen is an American techno musician based in Detroit.
Pullen was raised in Detroit, where he became interested in electronic music early in his life. He began working on the Detroit techno scene in 1990, studying with Derrick May and working with him on business ventures. He used the aliases Bango, Kosmik Messenger, X-Stacy and Silent Phase. Pullen's incorporation of house and garage with techno has been cited as an influence on later electronic artists.
Married to former model Andrea (Gutierrez) since 2005.
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Surgeon (musician)
Surgeon is the pseudonym of Anthony Child, an English electronic musician and DJ. Child releases music on his own labels Counterbalance and Dynamic Tension. Established imprints, such as Tresor, Soma, and Harthouse, have also released Surgeon's original material and remixes. He has also been recognized as one of the first wave of DJs to use Ableton Live and Final Scratch to supplement his DJ sets.
Child grew up in Kislingbury, a village in Northamptonshire. In 1989, he moved to Birmingham to study audio-visual design, played in a jazz/rock/fusion band called Blim, and learned to DJ from friend Paul Damage. At that time, there were no Techno clubs in Birmingham so he and his friends started House of God, and by 1992 he was DJing there regularly. In 1994, he released his eponymous debut EP on Downwards Records.
Surgeon's musical style is characterised by his incorporation of the more cinematic and left field aspects of his musical background into his club-based material. His production, remix, and DJ repertoire are inspired by krautrock and industrial music bands such as Faust, Coil, and Whitehouse. In particular, the extent of Coil's influence is such that most of the track titles from Surgeon's Tresor album "Force and Form" are direct references to Coil recordings. Child also draws influence from Chicago house, Techno, Dub music, and Electro, and also from non-musical works by Mike Leigh, David Lynch, William S. Burroughs, Bret Easton Ellis, and Cindy Sherman.
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Sven Vath
Sven Väth (born 26 October 1964, Obertshausen, Germany) is a Frankfurt-based DJ who has produced an extensive range of work since his career began in 1982. From 1985, he was part of the band OFF (acronym for Organization for Fun) which released the hit "Electrica Salsa" in 1986. He was also one of the founders of trance music labels Harthouse and the now-defunct Eye Q, as well as being among the first DJs to play trance records. In 1995 Mixmag rated his album Accident in Paradise one of the top-50 dance albums of all time; although the title track is a fast techno piece, the rest is far more sedate, such as the track "Coda," which features merely a flute and a harpsichord.
Väth is also known as "RU Ready" and "Sam Vision". He has been a member of the groups 16 Bit, Astral Pilot, Barbarella, the Essence of Nature, Metal Master, Metal Masters, Mosaic, and Off. Today he is the owner of the Cocoon Music Event GmbH, which contains his Label, Cocoon Recordings. He is also a shareholder of the Cocoon Club in Frankfurt.
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Sven Väth
Sven Väth (born 26 October 1964, Obertshausen, Germany) is a Frankfurt-based DJ who has produced an extensive range of work since his career began in 1982. From 1985, he was part of the band OFF (acronym for Organization for Fun) which released the hit "Electrica Salsa" in 1986. He was also one of the founders of trance music labels Harthouse and the now-defunct Eye Q, as well as being among the first DJs to play trance records. In 1995 Mixmag rated his album Accident in Paradise one of the top-50 dance albums of all time; although the title track is a fast techno piece, the rest is far more sedate, such as the track "Coda," which features merely a flute and a harpsichord.
Väth is also known as "RU Ready" and "Sam Vision". He has been a member of the groups 16 Bit, Astral Pilot, Barbarella, the Essence of Nature, Metal Master, Metal Masters, Mosaic, and Off. Today he is the owner of the Cocoon Music Event GmbH, which contains his Label, Cocoon Recordings. He is also a shareholder of the Cocoon Club in Frankfurt.
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Talla 2XLC
Talla 2XLC, real name Andreas Tomalla, is an electronic music producer and DJ whose work has spanned from industrial music to trance music.
In 1979, Talla 2XLC began DJing with the sounds of Kraftwerk, YMO, and Depeche Mode.
In 1984, Talla 2XLC started a small nightclub event called Technoclub, the first such club in Frankfurt to focus on electronic dance music.[citation needed] Initially, Technoclub was a Friday-night event held in the smaller, 350-person capacity room of the Dorian Gray discothèque inside the Frankfurt International Airport. In 1986, Technoclub moved to the 600-capacity Roxannes, where it remained through 1988. In 1989, it briefly moved to the 800- or 900-capacity Omen venue, then in September 1989 to the Dorian Gray's 2000-capacity main room, where it remained until the Dorian Gray closed in 2000. Technoclub may have been the world’s first major "super-club".
In the mid-1980s, he was involved with a band called Moskwa TV. In 1987 he co-founded the group Robotiko Rejekto and was associated with the fledgling record label Techno Drome International, an imprint of ZYX Records. Robotiko Rejekto's track "Rejekto" was one of the label's first releases. In 1988, he started a new project called Bigod 20, which would go on to be one of Europe’s most successful EBM acts of the early 1990s.
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Tanith (DJ)
Thomas Andrezak (born August 4, 1962 in Bad Kreuznach), better known as Tanith, is a German DJ and producer of electronic dance music. From 1990 to 1996 he was one of the most popular German Tekkno DJ (not to be confused with techno music).
In 1987, Andrezak changed his name and moved from Wiesbaden to Berlin, in the beginning of the Acid House scene. Then he was the resident DJ in the first Acid House club there, the Ufo. In January 1990, at the Ufo II, he organized his own night session, the Cyberspace. At that time, he also worked in the Mittwochsclub and was resident DJ in many Tekknozid’s raves. Tanith was the first Tekkno DJ and is considered one of the founders of the tekkno culture in Germany.
In 1990, he wrote for the specialized magazine Front Page, and he hosted regular after hours parties at the "Exit" club located in the old Ahornblatt building, after the Afterhour club "Walfisch" in the Köpenicker Strasse closed.
When the Tresor club open in March 1991, he become a resident DJ there. He was a main guest in almost all the major raves of his time (Mayday, Nature One, Tribal Gathering, etc.). In 1992, he devoted to the early breakbeat movement. His appearance at the 1994 Love Parade caused great sensation[citation needed] when he opened the parade aboard the "Love Truck", a parading car made with retired Russian tanks.
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The Advent
The Advent is a British electronic music act. It was originally founded in 1993 by Cisco Ferreira and Colin McBean. Soon after leaving school, Ferreira began working as an engineer at Jack Trax Records, a job which enabled him to glimpse first-hand the work of such artists as Derrick May and Marshall Jefferson. He began recording in 1988 with C.J. Bolland as Space Opera (eventually releasing four singles for R&S Records) and also recorded the first single for Fragile ("Why Don't You Answer" as himself) before meeting McBean, a top DJ who had worked with Keith Franklin of Bang the Party as the DJ team KCC.
The pair began recording together in 1990; their first activity was an engineering job for Fade to Black (aka Jay Denham), but later they debuted on vinyl with their first single, recorded for inclusion on a sampler by Network Records. The official debut of The Advent came in 1994, just after Ferreira signed to Internal Records (also the home of Orbital). He convinced McBean to join him in the recording of a series of crucially limited singles, then the debut album Elements of Life in late 1995. Critics championed the duo's energetic update of original techno renegades like Derrick May and Kevin Saunderson, and The Advent followed with the remix album Shaded Elementz one year later. Their second full album New Beginning was released 28 April 1997, though Internal Records dropped the duo soon after its release. After transferring to the Metalbox division of Northwest/BMG, The Advent returned later that year with another remix album titled Kombination Phunk, which alternated remixes with several original productions.
wn.com/The_Advent -
Theodor W. Adorno
Theodor W. Adorno (September 11, 1903 – August 6, 1969) was a German sociologist, philosopher and musicologist known for his critical theory of society.
He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer and Herbert Marcuse, for whom the work of Freud, Marx and Hegel were essential to a critique of modern society. He is widely regarded as one of the 20th century's foremost thinkers on aesthetics and philosophy, as well as one of its preeminent essayists. As a critic of both fascism and what he called the culture industry, his writings—such as Dialectic of Enlightenment (1947), Minima Moralia (1951) and Negative Dialectics (1966)—strongly influenced the European New Left.
wn.com/Theodor_W._Adorno -
Thomas Brinkmann
Thomas Brinkmann (born in 1959) is a German producer of experimental minimal techno music. He began experimenting with records in the early eighties and released re-workings of material by fellow artists Mike Ink and Richie Hawtin in the second half of the 90s. These productions were made by playing physically modified vinyl records on highly customized turntables with an additional tone arm.
Brinkmann later founded the Ernst record label and introduced his own productions on a series of 12" records taking their titles from female names. He has also produced for labels such as Traum Schallplatten, Raster-Noton and Mute Records (under the Soul Center alias).
wn.com/Thomas_Brinkmann -
Thomas Fehlmann
Thomas Fehlmann (born 1957 in Zürich), is a Swiss-born composer/producer who currently lives in Berlin, and has been active in electronic music as far back as the 1980s. He is currently active on the Kompakt record label based in Germany. He is an on and off member of such groups as Sun Electric and The Orb.
Notable releases include Visions of Blah on the Kompakt label, The Orb's 2004 Bicycles and Tricycles, and 2010's Gute Luft album soundtrack to the TV documentary 24H Berlin.
His 2007 album Honigpumpe was rated 8.6 on the Pitchfork Media music review site.
wn.com/Thomas_Fehlmann -
Torsten Fenslau
Torsten Fenslau (23 April 1964 — 6 November 1993) was a German disc jockey and music producer, and can be characterized as an important pioneer in the early Sound of Frankfurt.
He founded his own label, Abfahrt Records, through which he released titles as Culture Beat, Die Schwarze Zone and Heute ist ein guter Tag zu sterben.
His greatest success was the project Culture Beat, founded in 1989. The song "Mr Vain" topped the charts for several weeks in many European countries.
On November 6, 1993 Torsten Fenslau was killed in an automobile accident in his Mercedes-Benz 500SL close to Messel in the vicinity of Darmstadt.
wn.com/Torsten_Fenslau -
Visage
Visage are a British New Wave rock band. Formed in 1978, the band became closely linked to the burgeoning New Romantic fashion movement of the early 1980s, and are best known for their 1980 hit "Fade to Grey".
Founder members Steve Strange and Rusty Egan were hosting club nights at Blitz nightclub in Great Queen Street, London at the time and were eager to find new music to play, ultimately opting to create music themselves. Initially, the band was composed of Strange, Egan and Midge Ure. Ure and Egan began working with Strange during their last days with the band The Rich Kids, with Strange himself being at a loose end after leaving the new wave band The Photons. The trio recorded a demo which included a cover of the Zager and Evans hit "In the Year 2525". The band's line-up was completed with the addition of Ultravox keyboardist Billy Currie and three quarters of the post-punk band Magazine – guitarist John McGeoch, keyboardist Dave Formula and bassist Barry Adamson (who left the band early on after the band's debut single, but returned as a session musician). Producer Martin Rushent had heard some of the band's material at Billy's nightclub and financed further recordings with a view to signing the band to his then-new Genetic Records label. Visage recorded their first album at Rushent's home studio in Berkshire, but Rushent's label collapsed before it had gotten off the ground and the band instead signed to Radar Records, a new independent label run by Rushent's former colleague Martin Davis (the pair had worked together at United Artists Records). Visage released their first single, "Tar", on Radar in September 1979, though the single failed to chart.
wn.com/Visage -
Vladislav Delay
Vladislav Delay is one of the pseudonyms of Sasu Ripatti (born 1976), a Finnish electronic musician. He has also recorded as Luomo, Sistol, Uusitalo and Conoco.
Sasu has been involved in the ambient music, glitch, house, and techno genres. His method of track production involves a mixture of synthesizing, vocal recording and live reprocessing. Many tracks have an organic feeling that pervades through rolling, dubby basslines and vocal snippets. His partner is Antye Greie, with whom he has collaborated. Their daughter was born in 2006.
Sasu has released EPs and albums on labels such as Raster-Noton, Force Tracks, Chain Reaction, Mille Plateaux, Resopal, and Sigma Editions.
He also founded the Finnish music label Huume Recordings.
From 2009 onwards Ripatti has been performing drums and percussion in the Moritz von Oswald Trio alongside Moritz von Oswald and Max Loderbauer. With the Moritz von Oswald Trio he has released two albums and a live LP. He has also released an album in 2011 with his own experimental jazz/electronic group, the Vladislav Delay Quartet.
wn.com/Vladislav_Delay -
Westbam
WestBam, real name Maximilian Lenz (born 4 March 1965, Münster, Westphalia, Germany), is techno DJ in Germany. His brother is Fabian Lenz, also known as DJ Dick.
The origin of his moniker is a homage to Afrika Bambaataa, thus "Westphalia Bambaataa". He started his career as a DJ in 1983 in his birth city Münster. In 1984 he moved to Berlin where he released his first record called "17 - This Is Not a Boris Becker Song", which was coproduced by Klaus Jankuhn. He played at the first Love Parade rave party in 1989 at Ku'damm Berlin. Around that time, the DJ culture made a breakthrough in Germany. After several records he released his first album named The Cabinet. In 1991, he organised the first Mayday rave in Berlin. With over 5000 people, it was the biggest techno party in Germany at the time. Since then, Mayday has been vital to the German techno scene. Westbam is still an organiser of the party, and he is also a part of Members of Mayday, the producer of the Mayday-Anthems.
In 1993, he played a number of rave events in the United Kingdom including Obsession Passion at the Sanctuary in Milton Keynes.
wn.com/Westbam
karaoke
music - D. Malejonek, R. Sadowski
lyrics - D. Malejonek
Time after time
Lie after lie
Tommorow could be too late
So take my hand and be my friend
Try - try so hard
Feelings just get stronger
No one could bring me down
Fly - fly so high
Drop the fear
Want you join this ride
Time after time
Someone gots to pay
Send this Playlist by SMS
Email this Page
Techno Mix/Handsup (By BassStylerz)
- Order: Reorder
- Duration: 10:01
- Updated: 26 Nov 2012
More information; twitter.com www.facebook.com soundcloud.com myspace.com Wow, it`s great to see how happy you guys are :) and i know the mixing skills are bad in this old video :p for those who complain Tracklist: 0:00 Pimp Code - Raise your head up 1:20 Straight Flush -? Let's All Chant 3:20 Basslovers United - Music 4:20 Pimp Code - You Know (Radio Mix) 5:50 Rocco & Bass-T - Tell me when 6:45 Picco vs. Jens O. - The Jump Anthem 7:45 Alex Gaudino ft Crystal Water 9:00 Jumpmasters - Taste of Summer **Enjoy**
http://wn.com/Techno_Mix_Handsup_By_BassStylerz
Techno music
- Order: Reorder
- Duration: 9:40
- Updated: 27 Nov 2012
a techno song and a picture. NONE OF THESE SONGS ARE MINE!!! NO COPYRIGHT WAS INTENDED
http://wn.com/Techno_music
Best Techno 2009
- Order: Reorder
- Duration: 5:12
- Updated: 27 Nov 2012
ENJOY AND RELAX UNOFFICIAL PAGE! www.facebook.com "NEIMER - TWO HEARTS TOGETHER" CHECK MY CHANNEL FOR MORE MUSIC! COMMENT, LIKE AND SUBSCRIBE FOR MORE MUSIC!
http://wn.com/Best_Techno_2009
Techno 2012 Hands Up(Best of 2011)90 Min Mega Remix(Mix)
- Order: Reorder
- Duration: 89:40
- Updated: 27 Nov 2012
English(short): This is my Techno 2012 Hands Up(Best of 2011)90 Min.Mega Mix. This is my last mix for 2011. Hope your like this mix and please comment & rate :) I wish all of you Merry Christmas and a happy new year :) Please add my Facebook Fanpage: www.facebook.com Add please subscribe to my second Channel: www.youtube.com German: Da habt ihr Ihn! Das ist mein Techno 2012 Hands Up(Best of 2011)90 Min Mega Mix :) Das ist mein persönlichches Weihanchtsgeschenk für euch und zudem mein letzter Mix in diesem Jahre. Ich habe sogut wie Alle meine Lieblings Hands Up Lieder für diesem Mix verwendet. Fast garkeine Chart Cover und billig produzierte Bootlegs ;). Ich würde mich freuen,wenn ihr dieses Video bewerten und kommentieren würdet :) Die Trackliste steht wie immer in den Kommentaren. Bitte werdet Fan meiner Facebook Fanpage: www.facebook.com Und bitte abonniert meinen 2.Youtube Kanal: www.youtube.com Ich wünsche allen Frohe Weihnachten und einen guten Rutsch ins neue Jahr!
http://wn.com/Techno_2012_Hands_UpBest_of_201190_Min_Mega_RemixMix
techno#music#mix
- Order: Reorder
- Duration: 8:05
- Updated: 26 Nov 2012
my first techno song mix - i was bored :P songlist: 0:16=drunkenmunkey "calabria" - 1:08=tune up "feel fine" - 2:04=bitter sweet symphony jumpstyle remix - 2:47=jeckyll & hyde "frozen flame" - 3:36=sandstorm - 4:02=c-bool "would you feel" - 4:36=the cranberries "zombie Remix - 5:21=Barbie girl - 5:47= usher "yeah (techno remix)" - 6:48=Rock that beat ( Jumpstyle)
http://wn.com/techno_music_mix
2Hours of Techno
- Order: Reorder
- Duration: 111:53
- Updated: 27 Nov 2012
check out my better version: www.youtube.com minecraft server: 184.154.95.83 follow me on twitter!: twitter.com first to find easter egg: MrMtrCat ~SUBSCRIBE~ *I DON'T own the song or pic*
http://wn.com/2Hours_of_Techno
Best Techno 2011 (Hands Up Mix 25)
- Order: Reorder
- Duration: 14:19
- Updated: 26 Nov 2012
Hands Up Mix 25! Rate, comment and LET THE BASS KICK! DL link: www53.zippyshare.com Wallpaper: abstract.desktopnexus.com Tracklist: 1. 0:00 Partytrooperz - Tie On Your Head (Cc.K Remix) 2. 2:00 Starbreeze - Reviens Moi (Empyre One Remix) 3. 5:05 Remady P&R; - No Superstar (MaLu Project Bootleg) 4. 7:39 NINA - One Boy (Blunatix Remix) 5. 10:19 Mad Flush - Would You Let Me Be Myself (Cc.K Remix)
http://wn.com/Best_Techno_2011_Hands_Up_Mix_25
Techno Disco!
- Order: Reorder
- Duration: 3:16
- Updated: 26 Nov 2012
HANDS UP!! Title: Alex M vs Marc Van Damme - Techno Disco (Rob Mayth remix) EEEEENNNNJOYY!
http://wn.com/Techno_Disco!
Techno Mix 2012
- Order: Reorder
- Duration: 80:52
- Updated: 27 Nov 2012
Mercedes-Benz Vol 50. Jeśli chcecie mogę wstawić starsze volty bo są bardzo dobre tak jak ten ;) również mogę wysłać na emeil ; )) Pisać jak coś pozdro. Kontakt- Telefon-726596710 (plus) Moja Strona Internetowa- lampardtechnomix.bnx.pl www.facebook.com Jak się podoba to polub ! Link ! download.hellshare.pl inne dobre Volty www.youtube.com www.youtube.com www.youtube.com www.youtube.com wszystkie Volty ! download.hellshare.pl
http://wn.com/Techno_Mix_2012
DJ Inphinity Techno Mix
- Order: Reorder
- Duration: 9:41
- Updated: 26 Nov 2012
This Mix Includes: DJ Inphinity
http://wn.com/DJ_Inphinity_Techno_Mix
Techno Mix 2012
- Order: Reorder
- Duration: 94:31
- Updated: 25 Nov 2012
Siemaaa siemaa mam dla was kolejnego mojego Mixa dokładnie 66 jest tu aż 18 nowych Tracków ! nie ukrywam poświęciłem dużo czasu nad Tym Voltem aż pięć dni. jeśli chodzi o następny to myślę że za jakieś dwa tygodnie go usłyszycie. no nic zapraszam do słuchania ;) TRACK 1 - Tiësto & Wolfgang Gartner TRACK 2 - Edward Maya feat Violet TRACK 3 - Far East Movement - Turn up the love TRACK 4 - Carly Rae Jepsen Owl City Good Time Remix TRACK 5 - Calvin Harris & Ne-yo - Let's go TRACK 6 - Mike Nero Better Place TRACK 7 - Pitbull ft Shakira Get It Started TRACK 8 - Miike Snow vs Wolfgang Gartner vs Skrillex TRACK 9 - Sonny Flame - Sale el So TRACK 10 - DJ Sequenza - CU 2Nite TRACK 11 - Flo Rida - I Cry TRACK 12 - Sir Colin feat. Mickey - So Blind TRACK 13 - Liviu Hodor feat. Mona - Sweet Love TRACK 14 - Damn-R - Here I Go TRACK 15 - Manian - Welcome To The Club TRACK 16 - Keri Hilson feat. Nelly - Lose Control TRACK 17 - Fedoro - Play Girl TRACK 18 - Basshunter Privje TRACK 19 - Akcent-how deep is your love TRACK 20 - Poison TRACK 21 - Akcent - My Passion Link - download.hellshare.pl Kontakt - Telefon-726596710 (plus) Moja Strona Internetowa- lampardtechnomix.bnx.pl Poczta - Lamparddj@o2.pl www.facebook.com Jak się podoba to polub ! inne dobre Volty www.youtube.com www.youtube.com www.youtube.com www.youtube.com wszystkie Volty ! download.hellshare.pl Pozdro Lampard
http://wn.com/Techno_Mix_2012
All hail techno viking
- Order: Reorder
- Duration: 4:00
- Updated: 26 Nov 2012
holy shit, this looks like a movie or something lol
http://wn.com/All_hail_techno_viking
JULIAN SMITH - Techno Jeep
- Order: Reorder
- Duration: 2:20
- Updated: 27 Nov 2012
The sounds in this video are ACTUAL sounds from the Jeep. Everyone began rehearsing their parts 2 weeks before we shot the video. It took us 7 hours of filming to get a solid take. Enjoy! © 2009 Julian Smith Productions Be sure to download the mastered ringtone for FREE! www.myxer.com Download the MP3 - $0.99: www.juliansmith.tv Digg it! digg.com Add me on Facebook! www.facebook.com Follow me on Twitter: www.twitter.com JulianSmith.tv
http://wn.com/JULIAN_SMITH_Techno_Jeep
♫Summer Techno Remix 2011♫
- Order: Reorder
- Duration: 14:24
- Updated: 26 Nov 2012
Ich danke EUCH ALLEN für diese Klicks und Freue mich das es euch so gefällt :-* IHR SIED DIE BESTEN DER BESTEN. Ich DANKE EUCH :-*♥ Hands UP Freunde xXxDominic93xXx ab Ende Mai Exclusiv bei Clubbers United Radio zu hören www.clubbers-united.de // The beat of your Life www.xXxDominic93xXx.beepworld.de www.facebook.com www.facebook.com twitter.com Techno, House, Hardstyle und Electro Fans Aufgepasst.... Es ist Summer Time packt die Badehose aus und ab geht's!!! Mein neuer Summer Remix 2011 ist DA !!! DAUMEN HOCH und ABONNIEREN =) viel Spaß beim Reinhören...
http://wn.com/♫Summer_Techno_Remix_2011♫
Hard Trance Techno- Eternal
- Order: Reorder
- Duration: 7:57
- Updated: 26 Nov 2012
spac3trance.webs.com Hard Trance at it's finest, packed with stunning synths. Epic Hard Trance tune http
http://wn.com/Hard_Trance_Techno_Eternal
Techno 2012
- Order: Reorder
- Duration: 3:00
- Updated: 26 Nov 2012
TITEL Max Farenthide - Number one
http://wn.com/Techno_2012
Techno/Rave music
- Order: Reorder
- Duration: 4:11
- Updated: 26 Nov 2012
NONE OF THESE SONGS ARE MINE!!! NO COPYRIGHT WAS INTENDED
http://wn.com/Techno_Rave_music
DJ Mangoo-Rave Techno
- Order: Reorder
- Duration: 3:24
- Updated: 26 Nov 2012
This song is also called Inside You. Don't forget to watch Pt. 2 and 3
http://wn.com/DJ_Mangoo-Rave_Techno
Techno Trance - Moonlight Shadow
- Order: Reorder
- Duration: 3:58
- Updated: 26 Nov 2012
Missing Heart - Moonlight Shadow (cosmic gate edit)
http://wn.com/Techno_Trance_Moonlight_Shadow
10 Hours of Hardcore Hardstyle Techno music nonstop
- Order: Reorder
- Duration: 601:08
- Updated: 26 Nov 2012
10 Hours of Hardcore Hardstyle Techno music nonstop
http://wn.com/10_Hours_of_Hardcore_Hardstyle_Techno_music_nonstop
The Immortals Techno Syndrome - Mortal Kombat The Album
- Order: Reorder
- Duration: 3:26
- Updated: 26 Nov 2012
Techno Syndrome From: Mortal Kombat The Album Test your might Test your might Fight Mortal Kombat Finish him - Excellent Kano, Liu Kang, Rayden, Johnny Cage, Scorpion, Sub Zero, Sonya, Mortal Kombat Fight - Mortal Kombat Finish him - Excellent Kano, Liu Kang, Rayden, Johnny Cage, Scorpion, Sub Zero, Sonya, Mortal Kombat Excellent, excellent Excellent, excellent Fight, test your might All Songs Performed by The Immortals
http://wn.com/The_Immortals_Techno_Syndrome_Mortal_Kombat_The_Album
Techno
- Order: Reorder
- Duration: 5:18
- Updated: 26 Nov 2012
ein track mit einem bild^^ und für ALLE die noch mal wissen wollen welcher track das ist ( Progress feat.Delta - Zalitela )
http://wn.com/Techno
photo: AP / Jerome Delay
25 Nov 2012
Joseph Kabila, president of the Democratic Republic of Congo, has held direct talks with the leader of the M23 rebels in Uganda, hours after a regional summit called on them to end their offensive in the east of the country. Jean-Marie Runiga Lugerero, the political leader of the eastern DR Congo rebel group, said on Sunday he had an initial meeting with Kabila after the summit in the Ugandan capital, Kampala, ended on Saturday....(size: 20.0Kb)
photo: AP / Henry Griffin
26 Nov 2012
Article by WN.com Correspondent Dallas Darling "In our opinion and from our experience," declared John Kerry in 1971, "there is nothing in South Vietnam which could happen that realistically threatens the United States of America. And to attempt to justify the loss of one American life in Vietnam, Cambodia or Laos by linking such loss to the preservation of freedom..is to us the height of criminal hypocrisy..." ... The U.S....(size: 6.4Kb)
photo: AP
26 Nov 2012
This town of 19,000 nestled in an idyllic mountain pass of impossibly green pastures and golden autumn trees is on the front lines of Turkey's rapidly escalating guerrilla war. In a struggle for autonomy as well as independent language and education rights, the outlawed Kurdistan Workers' Party (PKK) has waged a low-grade conflict in Turkey for decades. ... 4 just as a Turkish army tank rolled by. ... "The violence is getting worse....(size: 8.8Kb)
photo: AP / George Osodi
25 Nov 2012
Twin suicide car bombs exploded Sunday at a church inside one of Nigeria's top military bases, killing at least 11 people and wounding another 30 in an embarrassing attack showing the continued insecurity that haunts Africa's most populous nation. ... This attack in Jaji on Sunday, however, happened inside a barracks home to the Armed Forces Command and Staff College, one of the country's most important military colleges. ... Gen. ... ....(size: 4.1Kb)
The Quietus
27 Nov 2012
Their hybrids and offshoots of techno, house and dubstep are by now nestling
together fairly comfortably under the umbrella term of 'bass music', a nebulous
title that’s stuck purely for want of a better one. ... Away from the rigid
constraints of generic demarcation, producers are happily borrowing tropes
and tendencies from both techno and house without enslaving themselves to
either....(size: 5.0Kb)
Skiddle
27 Nov 2012
Kraak Gallery, Manchester Fri 30th November 2012 live electronic music from Border Community artist Luke Abbott, Mancunian techno duo Ghosting Season & Beppu, Andrew of The Boats....(size: 2.1Kb)
Skiddle
27 Nov 2012
Kraak Gallery, Manchester Fri 30th November 2012 live electronic music from Border Community artist Luke Abbott, Mancunian techno duo Ghosting Season & Head Technician, Pye Corner Audio Date: Friday 30th November 2012 Venue: Kraak Gallery » Location: Manchester » Doors: 9:00pm til 4:00am (last entry 2:00am) Short url: http://skdl.it/Ww9gwQ Buy ......(size: 2.0Kb)
The Times of India
27 Nov 2012
Music Director: Sajid-Wajid; Lyricists: Jalees Sherwani, Irshad Kamil and Sameer; Singers: Rahat Fateh Ali Khan, Shreya Ghoshal, Mamta Sharma, Wajid, Keerthi Sagathia, Sonu Nigam, Tulsi Kumar, Sukhwinder Singh; Rating: *** Chulbul Pandey is back with a bang. ... The songs are penned by three different lyricists. ... It also has a remix version which has some good techno beats and it is as entertaining as the original. ... ....(size: 3.0Kb)
The Quietus
27 Nov 2012
It felt like the ghost of jungle past, rushing for its night bus. Listening to Raime's assured debut LP Quarter Turns Over A Living Line at serious volume produces a remarkably similar sensation. ... Having so expertly connected the brooding linear synapse between post punk, industrial, jungle and techno on their previous EPs and 12”s, this record continues apace into ever darker and transcendent spaces. ... However, not all is quite as bleak. ... ....(size: 3.0Kb)
Newstrack India
27 Nov 2012
The soundtrack of "Dabangg 2" is a musical delight with five original songs and three remixed tracks, composed by the powerhouse duo Sajid?Wajid. The songs are penned by three different lyricists. The album kicks off with "Dagabaaz re", a romantic number true to the spirit of "Tere mast mast do nain" from the original 2008 film. ... It also has a remix version which has some good techno beats and it is as entertaining as the original....(size: 4.0Kb)
DNA India
27 Nov 2012
- This New Mega Trend of youthful leaders will have a far-reaching impact on the world at every level
LONDON, Nov. ... "Gen-Next" leaders are assuming power globally, establishing their handprint on structures, practices and outlooks. ... The Mega Trend will drive a cross-pollination of ideas; urbane, techno-savvy young leaders will embrace the corporate mantras of growth and innovation in political governance....(size: 4.4Kb)
The Independent
27 Nov 2012
That’s why I couldn’t be a part of it and besides, where do I fit in? Where do I fit in with the techno crew? I’d be sticking out like a sore thumb and people would be asking, “Why’s Frankie here?”. ... It’s the same thing when techno blew up, it was my thing but obviously there’s some people listening to it so more power to them....(size: 27.2Kb)
Jakarta Post
26 Nov 2012
Paper Edition | Page: 5
The Batam Free Trade Zone Authority (BPK FTZ) Techno Park and PT Kinema Systrans Multimedia (KSM) are collaborating to advance the country’s animation industry to entertain audiences in Indonesia and worldwide. ... “We hope the Batam Techno Park will develop the technology for the animation production, which will be able to be implemented in the market....(size: 3.9Kb)
Skiddle
26 Nov 2012
When Geddes started the now iconic mulletover events with Rob Star back in 2004, it was through grit and determination to secure original spaces and an enduring passion for delivering the freshest talent that Geddes became such a face in the evolution of a thriving house and techno scene....(size: 3.2Kb)
Tampabay.com
26 Nov 2012
Skiddle
26 Nov 2012
HOUSE / DEEP HOUSE / TECHNO / TECH HOUSE Groups: Deaf Institute group, GOLD TEETH group Entry Prices Minimum age: 18 Entry price (public): £4 Advance Entry price (members/NUS): £4 Advance Doors open: 10:00pm til 4:00am Last entry: 1:00am Date: 27th November 2012 Find more events on Tuesday ......(size: 1.7Kb)
Skiddle
26 Nov 2012
Tweet
Last updated: 26th Nov 2012 Ending what's been another huge year for the live electronic, house and techno night with a bang, mUmU Boxing Day brings Circo Loco resident Matthias Tanzmann back to Liverpool after a two year absence. ... Lee Rands and mUmU / Shelter residents complete the full line up across two rooms....(size: 1.7Kb)
For the fictional character, see Fixer (comics). For the technopop genre, see Synthpop. For the prefix, see techno-.
| Techno | |
|---|---|
| Stylistic origins | Synthpop Electro Chicago house Electronic body music |
| Cultural origins | Mid-1980s, Detroit, US |
| Typical instruments | Synthesizer, keyboards, sampler, drum machine, sequencer, personal computer |
| Mainstream popularity | Moderate, largely in late 1980s and 1990s in Europe, more popular in Eastern Europe and Brazil currently[citation needed] |
| Derivative forms | Minimal techno, acid techno, hardcore techno |
| Subgenres | |
| Ambient techno, ghettotech, microhouse, tech house, tech trance, techstep (complete list) |
|
| Fusion genres | |
| IDM, trance, Eurodance, digital hardcore, techno jungle/drum and bass, neurofunk | |
| Regional scenes | |
| Detroit techno, Nortec, Schranz, freetekno | |
| Other topics | |
| Electronic musical instrument – computer music – record labels – raves – free party – teknival | |
Techno is a form of electronic dance music (EDM)[1] that emerged in Detroit, Michigan in the United States during the mid to late 1980s. The first recorded use of the word techno in reference to a genre of music was in 1988.[2][3] Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.[4]
The initial take on techno arose from the melding of electronic music, in the style of artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra, with African American music styles, including funk, electro, Chicago house and electric jazz.[5][6] Added to this is the influence of futuristic and fictional themes[7] that are relevant to life in American late capitalist society—particularly the book The Third Wave by Alvin Toffler.[8][9] Pioneering producer Juan Atkins cites Toffler's phrase "techno rebels" as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality.[10][11] In this manner: "techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness".[12]
Stylistically, techno is generally repetitive instrumental music produced for use in a continuous DJ set. The central rhythmic component is most often in common time (4/4), where time is marked with a bass drum on each quarter note pulse, a backbeat played by snare or clap on the second and fourth pulses of the bar, and an open hi-hat sounding every second eighth note. The tempo tends to vary between approximately 120 beats per minute (quarter note equals 120 pulses per minute) and 150 bpm, depending on the style of techno.
The creative use of music production technology, such as drum machines, synthesizers, and digital audio workstations, is viewed as an important aspect of the music's aesthetic. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro technology, are popular among techno producers.
Music journalists and fans of techno are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance. "Techno" is also commonly confused with generalized descriptors, such as electronic music and electronic dance music.[13][14][15].
Contents |
Origins[link]
The initial blueprint for techno developed during the mid-1980s in Belleville, Michigan, a suburb of Detroit by Juan Atkins, Kevin Saunderson, Derrick May (the so-called Belleville Three), and Eddie Fowlkes, all of whom attended school together at Belleville High.[16][17][18][19] By the close of the 1980s, the four had recorded and released material under various guises: Atkins as Model 500, Flintstones, and Magic Juan; Fowlkes simply as Eddie "Flashin" Fowlkes; Saunderson as Reese, Keynotes, and Kaos; with May as Mayday, R-Tyme, and Rhythim Is Rhythim. There were also a number of joint ventures, the most commercially successful of which[citation needed] was "Big Fun," the first single by Saunderson's group Inner City; it was produced by Saunderson, mixed by Atkins, re-edited by Saunderson & May, and co-written by Saunderson with vocalist Paris Grey, and fellow DJs James Pennington and Arthur Forest.[20]
Notable influences[link]
See also: Kraftwerk, Italo disco, Euro disco, Synth-pop, New romantic, Electro music, Electronic music, and Yellow Magic Orchestra
In exploring techno's origins writer Kodwo Eshun maintains that "Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones: the authentic, the origin, the real."[23] Juan Atkins has acknowledged that he had an early enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroder's work with Donna Summer and the producer's own album E=MC². Atkins also mentions that "around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and I'd ride around in my car playing it."[24] Atkins has also claimed he was unaware of Kraftwerk's music prior to his collaboration with Rick Davis, which was two years after he had first started experimenting with electronic instruments.[25] Regarding his initial impression of Kraftwerk, Atkins notes that they were "clean and precise" relative to the "weird UFO sounds" featured in his seemingly "psychedelic" music.[26]
Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that "it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty... everything is an ugly mess in Detroit, and so we were attracted to this music. It, like, ignited our imagination!".[27] May has commented that he considered his music a direct continuation of the European synthesizer tradition.[28] Kevin Saunderson has also acknowledged the influence of Europe but he claims to have been more inspired by the idea of making music with electronic equipment: "I was more infatuated with the idea that I can do this all myself."[28] Beyond Europe, another influence was Japan's Yellow Magic Orchestra (YMO) (1978–83),[6][29] whose music has been described as "proto-techno"[30][31] and who used the prefix "techno" in a number of titles.[32] YMO's song "Technopolis" (1979), a tribute to Tokyo as an electronic mecca, is considered an "interesting contribution" to the development of Detroit techno, foreshadowing concepts that Atkins and Davis would later explore with Cybotron.[33]
School days[link]
Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians, "mix" tape traders, and aspiring DJs.[34] They also found musical inspiration via the Midnight Funk Association, an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson.[35] Mojo's show featured electronic music by artists such as Giorgio Moroder, Kraftwerk, Yellow Magic Orchestra and Tangerine Dream, alongside the funk sounds of acts such as Parliament Funkadelic and dance oriented new wave music by bands like Devo and the B-52's.[36] Atkins has noted:
| “ | He [Mojo] played all the Parliament and Funkadelic that anybody ever wanted to hear. Those two groups were really big in Detroit at the time. In fact, they were one of the main reasons why disco didn't really grab hold in Detroit in '79. Mojo used to play a lot of funk just to be different from all the other stations that had gone over to disco. When 'Knee Deep'[37] came out, that just put the last nail in the coffin of disco music.[24] | ” |
Despite the short-lived disco boom in Detroit, it had the effect of inspiring many individuals to take up mixing, Juan Atkins among them. Subsequently, Atkins taught May how to mix records, and in 1981, "Magic Juan", Derrick "Mayday", in conjunction with three other DJ's, one of whom was Eddie "Flashin" Fowlkes, launched themselves as a party crew called Deep Space Soundworks[38][39] (also referred to as Deep Space).[40] In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year.[24]
During the late 1970s/early 1980s high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends[41] created the incubator in which techno was grown. These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs and their music. As these local clubs grew in popularity, groups of DJs began to band together to market their mixing skills and sound systems to the clubs in order to cater to the growing audiences of listeners. Locations like local church activity centers, vacant warehouses, offices, and YMCA auditoriums were the early locations where underage crowds gathered and the musical form was nurtured and defined.[42]
Juan Atkins[link]
Main article: Juan Atkins
Of the four individuals responsible for establishing techno as a genre in its own right, Juan Atkins is widely cited as "The Originator".[43] Atkins' role was likewise acknowledged in 1995 by the American music technology publication Keyboard Magazine, which honored Atkins as one of 12 Who Count in the history of keyboard music.[44]
In the early 1980s, Atkins began recording with musical partner Richard "3070" Davis (and later with a third member, Jon-5) as Cybotron. This trio released a number of rock and electro-inspired tunes,[45] the most successful of which were Clear (1983) and its moodier followup, "Techno City" (1984).[46][47]
According to a recent bio on MySpace, Atkins claims to have "coined the term techno to describe their music, taking as one inspiration the works of Futurist and author Alvin Toffler, from whom he borrowed the terms 'cybotron' and 'metroplex.' Atkins has used the term to describe earlier bands that made heavy use of synthesizers, such as Kraftwerk, although many people would consider Kraftwerk's music and Juan's early music in Cybotron as electro."[48] Atkins viewed Cybotron's "Cosmic Cars" (1982) as unique, Germanic, synthesized funk, but he later heard Afrika Bambaataa's "Planet Rock" (1982) and considered it to be a superior example of the music he envisioned. Inspired, he resolved to continue experimenting, and he encouraged Saunderson and May to do likewise.[49]
Eventually, Atkins started producing his own music under the pseudonym Model 500, and in 1985 he established the record label Metroplex.[50] The same year saw an important turning point for the Detroit scene with the release of Model 500's "No UFOs," a seminal work that is generally considered the first techno production. [51][52][53][54][55] Of this time, Atkins has said:
| “ | When I started Metroplex around February or March of '85 and released "No UFOs," I thought I was just going to make my money back on it, but I wound up selling between 10,000 and 15,000 copies. I had no idea that my record would happen in Chicago. Derrick's parents had moved there, and he was making regular trips between Detroit and Chicago. So when I came out with 'No UFOs,' he took copies out to Chicago and gave them to some DJs, and it just happened.[24] | ” |
Detroit sound[link]
The early producers, enabled by the increasing affordability of sequencers and synthesizers, merged a European synthpop aesthetic with aspects of soul, funk, disco, and electro, pushing electronic dance music into uncharted terrain. They deliberately rejected the Motown legacy and traditional formulas of R&B and soul, and instead embraced technological experimentation.[56][57][58][59]
| “ | Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it. As the price of sequencers and synthesizers has dropped, so the experimentation has become more intense. Basically, we're tired of hearing about being in love or falling out, tired of the R&B system, so a new progressive sound has emerged. We call it techno! | ” |
|
—Juan Atkins, 1988[56] |
||
The resulting Detroit sound was interpreted by Derrick May and one journalist in 1988 as a "post-soul" sound with no debt to Motown,[57][58] but by another journalist a decade later as "soulful grooves" melding the beat-centric styles of Motown with the music technology of the time.[60] May famously described the sound of techno as something that is "...like Detroit...a complete mistake. It's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."[57][58] Juan Atkins has stated that it is "music that sounds like technology, and not technology that sounds like music, meaning that most of the music you listen to is made with technology, whether you know it or not. But with techno music, you know it."[61]
The sound exerted an influence on widely differing styles of electronic music, yet it also maintained an identity as a genre in its own right, one now commonly referred to as "Detroit techno."
Chicago[link]
Main article: House music
The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and influenced by house in particular.[62][63] May's 1987/1989 hit "Strings of Life" (released under the alias Rhythim Is Rhythim) is considered a classic in both the house and techno genres.[63][64][65]
Juan Atkins also believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound.[66] Atkins also suggests that the Chicago house sound developed as a result of Frankie Knuckles' using a drum machine he bought from Derrick May.[67] He claims:
| “ | Derrick sold Chicago DJ Frankie Knuckles a TR909 drum machine. This was back when the Powerplant was open in Chicago, but before any of the Chicago DJs were making records. They were all into playing Italian imports; 'No UFOs' was the only U.S.-based independent record that they played. So Frankie Knuckles started using the 909 at his shows at the Powerplant. Boss had just brought out their little sampling footpedal, and somebody took one along there. Somebody was on the mic, and they sampled that and played it over the drumtrack pattern. Having got the drum machine and the sampler, they could make their own tunes to play at parties. One thing just led to another, and Chip E used the 909 to make his own record, and from then on, all these DJs in Chicago borrowed that 909 to come out with their own records.[24] | ” |
In the UK, a club following for house music grew steadily from 1985, with interest sustained by scenes in London, Manchester, Nottingham, and later Sheffield and Leeds. The DJs thought to be responsible for house's early UK success include Mike Pickering, Mark Moore, Colin Faver, and Graeme Park.[68]
Acid House[link]
By 1988, house music had exploded in the UK, and acid house was increasingly popular.[68] There was also a long established warehouse party subculture based around the sound system scene. In 1988, the music played at warehouse parties was predominantly house. That same year, the Balearic party vibe associated with Ibiza based DJ Alfredo Fiorito was transported to London, when Danny Rampling and Paul Oakenfold opened the clubs Shoom and Spectrum, respectively. Both night spots quickly became synonymous with acid house, and it was during this period that the use of MDMA, as a party drug, started to gain prominence. Other important UK clubs at this time included Back to Basics in Leeds, Sheffield's Leadmill and Music Factory, and in Manchester The Haçienda, where Mike Pickering and Graeme Park's Friday night spot, Nude, was an important proving ground for American EDM, including the first techno from Detroit.[69]
Acid house party fever escalated in London and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A.M. closing hours, sought refuge in the warehouse party scene that ran all night. To escape the attention of the press and the authorities, this after-hours activity quickly went underground. Within a year, however, up to 10,000 people at a time were attending the first commercially organized mass parties, called raves, and a media storm ensued.[70]
The success of house and acid house paved the way for wider acceptance of the Detroit sound, and vice-versa: techno was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with Detroit clubs catching up later;[71] but in 1987, it was "Strings of Life" which eased London club-goers into acceptance of house, according to DJ Mark Moore.[72][73]
[edit] The New Dance Sound of Detroit
File:TechnoCover.jpeg
Cover art for the 1988 compilation album, Techno! The New Dance Sound of Detroit
The explosion of interest in EDM during the late 1980s provided a context for the development of techno as an identifiable genre. The mid-1988 UK release of Techno! The New Dance Sound of Detroit,[74][75] an album compiled by ex-Northern Soul DJ and Kool Kat Records boss Neil Rushton (at the time an A&R scout for Virgin's "10 Records" imprint) and Derrick May, was an important milestone and marked the introduction of the word techno in reference to a specific genre of music.[2][3] Although the compilation put techno into the lexicon of music journalism, the music was, for a time, sometimes characterized as Detroit's high-tech interpretation of Chicago house rather than a relatively pure genre unto itself.[3][76] In fact, the compilation's working title had been The House Sound of Detroit until the addition of Atkins' song "Techno Music" prompted reconsideration.[74][77] Rushton was later quoted as saying he, Atkins, May, and Saunderson came up with the compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they instead favored a term they were already using, techno.[3][77][78]
Derrick May views this as one of his busiest times and recalls that it was a period where he
| “ | was working with Carl Craig, helping Kevin, helping Juan, trying to put Neil Rushton in the right position to meet everybody, trying to get Blake Baxter endorsed so that everyone liked him, trying to convince Shake (Anthony Shakir) that he should be more assertive...and keep making music as well as do the Mayday mix (for the show Street Beat on Detroit's WJLB radio station) and run Transmat records.[74] | ” |
Despite Virgin Records' disappointment with the poor sales of Rushton's compilation,[79] the record was successful in establishing an identity for techno and was instrumental in establishing a platform in Europe for the music and its producers.[80] Ultimately, the release served to distinguish the Detroit sound from Chicago house and other forms of EDM that were emerging during the rave era of the late 1980s and early '90s, a period during which techno became more adventurous and distinct.[81][82]
Music Institute[link]
In mid-1988, developments in the Detroit scene lead to the opening of nightclub called the Music Institute (MI), located at 1315 Broadway in downtown Detroit. The venue was secured by George Baker and Alton Miller with Darryl Wynn and Derrick May participating as Friday night DJs, and Baker and Chez Damier playing to a mostly gay crowd on Saturday nights.
The club closed on November 24, 1989, with Derrick May playing "Strings of Life" along with a recording of clock tower bells.[83] May explains:
| “ | It all happened at the right time by mistake, and it didn't last because it wasn't supposed to last. Our careers took off right around the time we [the MI] had to close, and maybe it was the best thing. I think we were peaking – we were so full of energy and we didn't know who we were or [how to] realize our potential. We had no inhibitions, no standards, we just did it. That's why it came off so fresh and innovative, and that's why...we got the best of the best.[83] | ” |
Though short-lived, MI was known internationally for its all-night sets, its sparse white rooms, and its juice bar stocked with "smart drinks" (the Institute never served liquor). The MI, notes Dan Sicko, along with Detroit's early techno pioneers, "helped give life to one of the city's important musical subcultures – one that was slowly growing into an international scene."[83]
Developments[link]
As the original sound evolved in the late 1980s and early 1990s, it also diverged to such an extent that a wide spectrum of stylistically distinct music was being referred to as techno. This ranged from relatively pop oriented acts such as Moby[84] to the distinctly anti-commercial sentiments[85] of Underground Resistance. Derrick May's experimentation on works such as Beyond the Dance (1989) and The Beginning (1990) were credited with taking techno "in dozens of new directions at once and having the kind of expansive impact John Coltrane had on Jazz".[86] By the late 1980s and early '90s, the original techno sound had garnered a large underground following in the United Kingdom, Germany, The Netherlands and Belgium. The growth of techno's popularity in Europe between 1988 and 1992 was largely due to the emergence of the rave scene and a thriving club culture.[81]
Exodus[link]
In America, apart from regional scenes in Detroit, New York, and Chicago, interest was limited. Producers from Detroit, frustrated by the lack of opportunity in their home country, looked to Europe for their future livelihood.[87] This first wave of Detroit expatriates was soon joined by a number of up-and-coming artists, the so called "second wave", including Carl Craig, Octave One, Jay Denham, Kenny Larkin, and Stacey Pullen, with UR's Jeff Mills, Mike Banks, and Robert Hood pushing their own unique sound. A number of New York producers were also making an impression at this time, notably Frankie Bones, Lenny Dee, and Joey Beltram. In the same period, close to Detroit (Windsor, Ontario), Richie Hawtin, with business partner John Acquaviva, launched the influential imprint Plus 8 Records.[88]
Developments in American-produced techno between 1990 and 1992 fueled the expansion and eventual divergence of techno in Europe, particularly in Germany.[89][90] In Berlin, following the closure of a free party venue called Ufo, the club Tresor opened in 1991. The venue was for a time the standard bearer for techno and played host to many of the leading Detroit producers, some of whom relocated to Berlin.[91] By 1993, as interest in techno in the UK club scene started to wane, Berlin was considered the unofficial techno capital of Europe.[92]
Although eclipsed by Germany, Belgium was another focus of second-wave techno in this time period. The Ghent-based label R&S Records embraced harder-edged techno by "teenage prodigies" like Beltram and C.J. Bolland, releasing "tough, metallic tracks...with harsh, discordant synth lines that sounded like distressed Hoovers," according to one music journalist.[93]
German techno scene[link]
Germany's engagement with American EDM during the 1980s paralleled that in the UK. By 1987 a German party scene based around the Chicago sound was well established. The following year (1988) saw acid house making as significant an impact on popular consciousness in Germany as it had in England.[94] In 1989 German DJs Westbam and Dr. Motte established the Ufo club, an illegal party venue, and co-founded the Love Parade.[95] After the Berlin Wall fell on 9 November 1989, free underground techno parties mushroomed in East Berlin, and a rave scene comparable to that in the UK was established.[95] East German DJ Paul van Dyk has remarked that techno was a major force in reestablishing social connections between East and West Germany during the unification period.[96]
In 1991 a number of party venues closed, including Ufo, and the Berlin Techno scene centered itself around three locations close to the foundations of the Berlin Wall: Planet (later renamed E-Werk by Paul van Dyk),[97] Der Bunker, and the relatively long-lived Tresor.[98] It was in Tresor at this time that a trend in paramilitary clothing was established (amongst the techno fraternity) by a DJ called Tanith;[99] possibly as an expression of a commitment to the underground aesthetic of the music, or perhaps influenced by UR's paramilitary posturing.[100] In the same period, German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into hardcore.[101] DJ Tanith commented at the time that "Berlin was always hardcore, hardcore hippie, hardcore punk, and now we have a very hardcore house sound."[97] This emerging sound is thought to have been influenced by Dutch gabber and Belgian hardcore; styles that were in their own perverse way paying homage to Underground Resistance and Richie Hawtin's Plus 8 Records. Other influences on the development of this style were European Electronic Body Music (EBM) groups of the mid-1980s such as DAF, Front 242, and Nitzer Ebb.[102]
Changes were also taking place in Frankfurt during the same period but it did not share the egalitarian approach found in the Berlin party scene. It was instead very much centred around discothèques and existing arrangements with various club owners. In 1988, after the Omen opened, the Frankfurt dance music scene was allegedly dominated by the club's management and they made it difficult for other promoters to get a start. By the early 1990s Sven Vath had become perhaps the first DJ in Germany to be worshipped like a rock star. He performed centre stage with his fans facing him, and as co-owner of Omen, he is believed to have been the first techno DJ to run his own club. One of the few real alternatives then was The Bruckenkopf in Mainz, underneath a Rhine bridge, a venue that offered a non-commercial alternative to Frankfurt's discotech based clubs. Other notable underground parties were those run by Force Inc. Music Works and Ata & Heiko from Playhouse records (Ongaku Musik). By 1992 DJ Dag & Torsten Fenslau were running a Sunday morning session at Dorian Gray, a plush discothèque near the Frankfurt airport. They initially played a mix of different styles including Belgian New Beat, Deep House, Chicago House, and synthpop such as Kraftwerk and Yello and it was out of this blend of styles that the Frankfurt trance scene is believed to have emerged.[103]
In 1993-94 rave became a mainstream music phenomenon in Germany, seeing with it a return to "melody, New Age elements, insistently kitsch harmonies and timbres". This undermining of the German underground sound lead to the consolidation of a German "rave establishment," spearheaded by the party organisation Mayday, with its record label Low Spirit, DJ Westbam, Marusha, and a music channel called Viva TV. At this time the German popular music charts were riddled with Low Spirit "pop-Tekno" German folk music reinterpretations of tunes such as "Somewhere Over The Rainbow" and "Tears Don't Lie", many of which became hits. At the same time, in Frankfurt, a supposed alternative was a music characterised by Simon Reynolds as "moribund, middlebrow Electro-Trance music, as represented by Frankfurt's own Sven Vath and his Harthouse label." [104]
Tekkno[link]
File:Tekknozid3.jpg
Flyer for a Tekknozid Tekkno rave held in December 1990.
In Germany, fans started to refer to the harder techno sound emerging in the early 1990s as Tekkno (or Bretter).[95] This alternative spelling, with varying numbers of ks, began as a tongue-in-cheek attempt to emphasize the music's hardness, but by the mid-1990s it came to be associated with a controversial point of view that the music was and perhaps always had been wholly separate from Detroit's techno, deriving instead from a 1980s EBM-oriented club scene cultivated in part by DJ/musician Talla 2XLC in Frankfurt.[105] Talla, in the early to mid 1980s, worked in City Music at Frankfurt Station and began to categorize artists such as New Order, Depeche Mode, Kraftwerk, Heaven 17 and Front 242 under the heading techno, to sum up all technologically created music. In 1984 Talla started an event called Technoclub on Sunday afternoons at Frankfurts Disco No name, which then moved to the Dorian Gray club in 1987. Talla's club spot served as the hub for the regional EBM and electronic music scene, and according to Jürgen Laarmann, of Frontpage magazine, it had historical merit in being the first club in Germany to play almost exclusively electronic music. Technoclub was "more or less an underground thing for suburban kids," it was, according to Laarmann, "never really hip to go there."[103]
At some point tension over "who defines techno" arose between scenes in Frankfurt and Berlin. DJ Tanith has expressed that Techno as a term already existed in Germany but was to a large extent undefined. Dimitri Hegemann has stated that the Frankfurt definition of techno associated with Talla's Technoclub differed from that used in Berlin. Frankfurt's Armin Johnert viewed techno as having its roots in acts such DAF, Cabaret Voltaire, and Suicide, but a younger generation of club goers had a perception of the older EBM and Industrial as handed down and outdated. The Berlin scene offered an alternative and many began embracing an imported sound that was being referred to as Techno-House. The move away from EBM had started in Berlin when acid house became popular, thanks to Monika Dietl's radio show on SFB 4. Tanith distinguished acid based dance music from the earlier approaches, whether it be DAF or Nitzer Ebb, because the latter was aggressive, he felt that it epitomised "being against something," but of acid house he said, "it's electronic, it's fun it's nice." By Spring 1990, Tanith, along with Wolle XDP, an East-Berlin party organizer responsible for the X-tasy Dance Project, were organizing the first large scale rave events in Germany. This development would lead to a permanent move away from the sound associated with Techno-House and toward a hard edged mix of music that came to define Tanith and Wolle's Tekknozid parties. According to Wolle it was an "out and out rejection of disco values," instead they created a "sound storm" and encouraged a form of "dance floor socialism," where the DJ was not placed in the middle and you "lose yourself in light and sound." [106]
[edit] A Techno Alliance
In 1993, the German techno label Tresor Records released the compilation album Tresor II: Berlin & Detroit – A Techno Alliance,[107] a testament to the influence of the Detroit sound upon the German techno scene and a celebration of a "mutual admiration pact" between the two cities.[90] As the mid-90s approached Berlin was becoming a haven for Detroit producers; Jeff Mills and Blake Baxter even resided there for a time. In the same period, with the assistance of Tresor, Underground Resistance released their X-101/X-102/X103 album series, Juan Atkins collaborated with 3MB's Thomas Fehlmann and Moritz Von Oswald[90] and Tresor-affiliated label Basic Channel had its releases mastered by Detroit's National Sound Corporation, the main mastering house for the entire Detroit dance music scene. In a sense, popular electronic music had come full circle, returning to Germany, home of a primary influence on the electronic dance music of the 1980s: Düsseldorf's Kraftwerk. Even the dance sounds of Chicago also had a German connection, as it was in Munich that Giorgio Moroder and Pete Bellotte first produced the 1970s Eurodisco synth pop sound.[95]
Minimal techno[link]
Main article: Minimal techno
As techno continued to transmute a number of Detroit producers began to question the trajectory the music was taking. One response came in the form of so-called minimal techno (a term producer Daniel Bell found difficult to accept, finding the term minimalism, in the artistic sense of the word, too "arty").[108] It is thought that Robert Hood, a Detroit based producer and one time member of UR, is largely responsible for ushering in the minimal strain of techno.[109] Hood describes the situation in the early 1990s as one where techno had become too "ravey", with increasing tempos, the emergence of gabber, and related trends straying far from the social commentary and soul-infused sound of original Detroit techno. In response, Hood and others sought to emphasize a single element of the Detroit aesthetic, interpreting techno with "a basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move".[110] Hood explains:
| “ | I think Dan [Bell] and I both realized that something was missing – an element...in what we both know as techno. It sounded great from a production point of standpoint, but there was a 'jack' element in the [old] structure. People would complain that there's no funk, no feeling in techno anymore, and the easy escape is to put a vocalist and some piano on top to fill the emotional gap. I thought it was time for a return to the original underground.[18] | ” |
Jazz influences[link]
Some techno has also been influenced by or directly infused with elements of jazz.[111] This led to increased sophistication in the use of both rhythm and harmony in a number of techno productions.[112] Manchester (UK) based techno act 808 State helped fuel this development with tracks such as "Pacific State"[113] and "Cobra Bora" in 1989.[114] Detroit producer Mike Banks was heavily influenced by jazz, as demonstrated on the influential Underground Resistance release Nation 2 Nation (1991).[115] By 1993, Detroit acts such as Model 500 and UR had made explicit references to the genre, with the tracks "Jazz Is The Teacher" (1993)[93] and "Hi-Tech Jazz" (1993), the latter being part of a larger body of work and group called Galaxy 2 Galaxy, a self-described jazz project based on Kraftwerk's "man machine" doctrine.[115][116] This lead was followed by a number of techno producers in the UK who were influenced by both jazz and UR, Dave Angel's "Seas of Tranquility" EP (1994) being a case in point,[117][118] Other notable artists who set about expanding upon the structure of "classic techno" include Dan Curtin, Morgan Geist, Titonton Duvante and Ian O'Brien.[119]
Intelligent techno[link]
See also: Intelligent dance music and electronica
File:WarpAI.jpg
The Warp Records compilation Artificial Intelligence popularised the notion of Intelligent Techno.
In 1991 UK music journalist Matthew Collin wrote that "Europe may have the scene and the energy, but it's America which supplies the ideological direction...if Belgian techno gives us riffs, German techno the noise, British techno the breakbeats, then Detroit supplies the sheer cerebral depth."[120] By 1992 a general rejection of rave culture, by a number of European producers and labels who were attempting to redress what they saw as the corruption and commercialization of the original techno ideal, was evident.[121] Following this the ideal of an intelligent or Detroit derived pure techno aesthetic began to take hold. Detroit techno had maintained its integrity throughout the rave era and was inspiring a new generation of so called intelligent techno producers.
As the mid-1990s approached, the term had gained common usage in an attempt to differentiate the increasingly sophisticated takes on EDM[122] from other strands of techno that had emerged,including overtly commercial strains and harder, rave-oriented variants such as breakbeat hardcore, Schranz, Dutch Gabber. Simon Reynolds observes that this progression "involved a full-scale retreat from the most radically posthuman and hedonistically functional aspects of rave music toward more traditional ideas about creativity, namely the auteur theory of the solitary genius who humanizes technology."[123]
Warp Records was among the first to capitalize upon this development with the release of the compilation album Artificial Intelligence[124] Of this time, Warp founder and managing director Steve Beckett said
| “ | the dance scene was changing and we were hearing B-sides that weren't dance but were interesting and fitted into experimental, progressive rock, so we decided to make the compilation Artificial Intelligence, which became a milestone... it felt like we were leading the market rather than it leading us, the music was aimed at home listening rather than clubs and dance floors: people coming home, off their nuts, and having the most interesting part of the night listening to totally tripped out music. The sound fed the scene.[125] | ” |
Warp had originally marketed Artificial Intelligence using the description electronic listening music but this was quickly replaced by intelligent techno. In the same period (1992–93) other names were also bandied about such as armchair techno, ambient techno, and electronica,[126] but all were used to describe an emerging form of post-rave dance music for the "sedentary and stay at home".[127] Following the commercial success of the compilation in the United States, Intelligent Dance Music eventually became the phrase most commonly used to describe much of the experimental EDM emerging during the mid to late 1990s.
Although it is primarily Warp that has been credited with ushering the commercial growth of IDM and electronica, in the early 1990s there were many notable labels associated with the initial intelligence trend that received little, if any, wider attention. Amongst others they include: Black Dog Productions (1989), Carl Craig's Planet E (1991), Kirk Degiorgio's Applied Rhythmic Technology (1991), Eevo Lute Muzique (1991), General Production Recordings (1991), New Electronica (1993), Mille Plateaux (1993), 100% Pure (1993), and Ferox Records (1993).
Free techno[link]
In the early 1990s a post-rave, DIY, free party scene had established itself in the UK. It was largely based around an alliance between warehouse party goers from various urban squat scenes and politically inspired new age travellers. The new agers offered a readymade network of countryside festivals that were hastily adopted by squatters and ravers alike.[128] Prominent among the sound systems operating at this time were Tonka in Brighton, DiY in Nottingham, Bedlam, Circus Warp, LSDiesel and London's Spiral Tribe. The high point of this free party period came in May 1992 when with less than 24 hours notice and little publicity more than 35,000 gathered at the Castlemorton Common Festival for 5 days of partying.[129]
This one event was largely responsible for the introduction in 1994 of the Criminal Justice and Public Order Act;[130] effectively leaving the British free party scene for dead. Following this many of the traveller artists moved away from Britain to Europe, the US, Goa in India, Koh Phangan in Thailand and Australia's East Coast.[129] In the rest of Europe, due in some part to the inspiration of traveling sound systems from the UK,[129] rave enjoyed a prolonged existence as it continued to expand across the continent.[89]
Spiral Tribe, Bedlam and other English sound systems took their cooperative techno ideas to Europe, particularly Eastern Europe where it was cheaper to live, and audiences were quick to appropriate the free party ideology. It was European Teknival free parties, such as the annual Czechtek event in the Czech Republic that gave rise to several French, German and Dutch sound systems. Many of these groups found audiences easily and were often centered around squats in cities such as Amsterdam and Berlin.[129]
Divergence[link]
See also: List of electronic music genres
By 1994 there were a number of techno producers in the UK and Europe building on the Detroit sound, but a growing range of EDM styles were by then vying for attention. Some drew upon the Detroit techno aesthetic, while others fused components of preceding dance music forms. This led to the appearance (in the UK initially) of inventive new music, some of which bore little, if any, relation to the original techno sound; jungle (drum and bass) being a primary example, its origins having more to do with hip-hop, soul, and reggae, than with the EDM from Detroit and Chicago.
With an increasing diversification (and commercialization) of dance music, the collectivist sentiment prominent in the early rave scene diminished, each new faction having its own particular attitude and vision of how dance music (or in certain cases, non-dance music) should evolve. Some examples not already mentioned are trance, industrial techno, breakbeat hardcore, acid techno, and happy hardcore. Less well-known styles related to techno or its subgenres include the primarily Sheffield (UK) based bleep techno, a regional variant that had some success between 1989 and 1991, and a scene that was responsible for putting Warp Records on the map (largely as a result of its fifth release, LFO's self-titled 12″).
According to Muzik magazine, by 1995 the UK techno scene was in decline and dedicated club nights were dwindling. The music had become "too hard, too fast, too male, too drug-oriented, too anally retentive." Despite this, weekly night at clubs such as Final Frontier (London), House of God (Birmingham), Pure (Edinburgh), and Bugged Out (Manchester) were still popular. With techno reaching a state of "creative palsy," and with a disproportionate number of EDM enthusiasts more interested in the sounds of rave and jungle, in 1995 the future of the UK techno scene looked uncertain as the market for "pure techno" waned. Muzik described the sound of UK techno at this time as "dutiful grovelling at the alter of American techno with a total unwillingness to compromise." [131]
By the end of the 1990s a number of post-techno [132] EDM styles had emerged including ghettotech (a style that combines some of the aesthetics of techno with hip-hop and house music), nortec, glitch, digital hardcore, and so-called no-beat techno.[133]
Commercial exposure[link]
While techno and its derivatives only occasionally produce commercially successful mainstream acts—Underworld and Orbital being two better known examples—the genre has significantly affected many other areas of music. In an effort to appear relevant, many established artists, for example Madonna and U2, have dabbled with dance music, yet such endeavors have rarely evidenced a genuine understanding or appreciation of techno's origins.[134] The mainstream music industry has been responsible for the growth of a huge remix industry. This is largely a drive to gain club scene exposure for artists that are not identified with club styles such as house, techno, and drum & bass. Many club acts and dance DJs have made very successful careers out of remixing alone, Armand Van Helden being a good example.
One R&B artist, Missy Elliott, inadvertently exposed the popular music audience to the Detroit techno sound when she featured material from Cybotron's Clear on her 2006 release "Lose Control"; this resulted in Juan Atkins' receiving a Grammy Award nomination for his writing credit. Elliott's 2001 album Miss E... So Addictive also clearly demonstrated the influence of techno inspired club culture.[135]
In recent years, the publication of relatively accurate histories by authors Simon Reynolds (Generation Ecstasy aka Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the Detroit Electronic Music Festival, have helped to diffuse the genre's more dubious mythology.[136] Even the Detroit-based company Ford Motors eventually became savvy to the mass appeal of techno, noting that "this music was created partly by the pounding clangor of the Motor City's auto factories. It became natural for us to incorporate Detroit techno into our commercials after we discovered that young people are embracing techno." With a marketing campaign targeting under-35s, Ford used "Detroit Techno" as a print ad slogan and chose Model 500's "No UFO's" to underpin its November 2000 MTV television advertisement for the Ford Focus.[137][138][139][140] In attempting to sum up the changes since the heyday of Detroit techno, Derrick May has since revised his famous quote in stating that "Kraftwerk got off on the third floor and now George Clinton's got Napalm Death in there with him. The elevator's stalled between the pharmacy and the athletic wear store."[141]
Antecedents[link]
Proto-techno[link]
The popularity of Euro disco and Italo disco—referred to as progressive in Detroit—and new romanticsynth pop in the Detroit high school party scene from which techno emerged[142] has prompted a number of commentators to try and redefine the origins of techno by incorporating musical precursors to the Detroit sound as part of a wider historical survey of the genre's development.[23][143][144] The search for a mythical "first techno record" leads such commentators to consider music from long before from the 1988 naming of the genre. Aside from the artists whose music was popular in the Detroit high school scene ("progressive" disco acts such as Giorgio Moroder, Alexander Robotnick, and Claudio Simonetti and synth pop artists such as Visage, Duran Duran, Depeche Mode, The Human League, and Heaven 17), they point to examples such as "Sharevari" (1981) by A Number of Names,[145] danceable selections from Kraftwerk (1977–83), the earliest compositions by Cybotron (1981), Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Moroder's "From Here to Eternity" (1977), and Manuel Göttsching's "proto-techno masterpiece"[144] E2-E4 (1981). Another example is a record entitled Love in C minor, released in 1976 by Parisian Euro disco producer Jean-Marc Cerrone; cited as the first so called "conceptual disco" production and the record from which house, techno, and other EDM styles flowed.[146] Yet another example is Yellow Magic Orchestra's work, which has also been described as "proto-techno" music.[30][31]
Prehistory[link]
Certain electro-disco and European synth pop productions share with techno a dependence on machine-generated dance rhythms, but such comparisons are not without contention. Efforts to regress further into the past, in search of earlier antecedents, entails a further regression, to the sequenced electronic music of Raymond Scott, whose "The Rhythm Modulator," "The Bass-Line Generator," and "IBM Probe" are considered early examples of techno-like music. In a review of Scott's Manhattan Research Inc. compilation album the English newspaper The Independent suggested that "Scott's importance lies mainly in his realization of the rhythmic possibilities of electronic music, which laid the foundation for all electro-pop from disco to techno."[147] Another example of early EDM-like music has recently come to light (2008). On a tape, reportedly made in the mid to late 1960s by the original composer of the Doctor Who theme, Delia Derbyshire, is evidence of music virtually indistinguishable from contemporary EDM. Paul Hartnoll, formerly of the dance group Orbital, describes the example as "quite amazing" and notes that it sounds not unlike something that "could be coming out next week on Warp Records."[148] Another example is Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), which has been compared to acid house music, despite having no known influence on the genre.[149][150]
Music production practice[link]
Stylistic considerations[link]
In general, techno is very DJ-friendly, being mainly instrumental (commercial varieties being an exception) and is produced with the intention of its being heard in the context of a continuous DJ set, wherein the DJ progresses from one record to the next via a synchronized segue or "mix."[151] Much of the instrumentation in techno emphasizes the role of rhythm over other musical parameters, but the design of synthetic timbres, and the creative use of music production technology in general, are important aspects of the overall aesthetic practice.
Unlike other forms of EDM that tend to be produced with synthesizer keyboards, techno does not always strictly adhere to the harmonic practice of Western music and such strictures are often ignored in favor of timbral manipulation alone.[152] The use of motivic development (though relatively limited) and the employment of conventional musical frameworks is more widely found in commercial techno styles, for example Euro-trance, where the template is often an AABA song structure.[153]
The main drum part is almost universally in common time (4/4); meaning 4 quarter note pulses per bar.[154] In its simplest form, time is marked with kicks (bass drum beats) on each quarter-note pulse, a snare or clap on the second and fourth pulse of the bar, with an open hi-hat sound every second eighth note. This is essentially a disco (or even polka) drum pattern and is common throughout house music and house-influenced genres such as techno. The tempo tends to vary between approximately 120 bpm (quarter note equals 120 pulses per minute) and 150 bpm, depending on the style of techno.
Some of the drum programming employed in the original Detroit-based techno made use of syncopation and polyrhythm, yet in many cases the basic disco-type pattern was used as a foundation, with polyrhythmic elaborations added using other drum machine voices. This syncopated-feel (funkiness) distinguishes the Detroit strain of techno from other variants. It is a feature that many DJs and producers still use to differentiate their music from commercial forms of techno, the majority of which tend to be devoid of syncopation. Derrick May has summed up the sound as 'Hi-tech Tribalism': something "very spiritual, very bass oriented, and very drum oriented, very percussive. The original techno music was very hi-tech with a very percussive feel... it was extremely, extremely Tribal. It feels like you're in some sort of hi-tech village."[139]
Compositional techniques[link]
File:Producerschair.jpg
Example of a professional production environment
There are many ways to create techno, but the vast majority will depend upon the use of loop-based step sequencing as a compositional method. Techno musicians, or producers, rather than employing traditional compositional techniques, may work in an improvisatory fashion,[155] often treating the electronic music studio as one large instrument. The collection of devices found in a typical studio will include units that are capable of producing unique timbres and effects but technical proficiency is required for the technology to be exploited creatively. Studio production equipment is generally synchronized using a hardware- or computer-based MIDI sequencer, enabling the producer to combine, in one arrangement, the sequenced output of many devices. A typical approach to utilizing this type of technology compositionally is to overdub successive layers of material while continuously looping a single measure, or sequence of measures. This process will usually continue until a suitable multi-track arrangement has been produced.[156]
Once a single loop based arrangement has been generated, a producer may then focus on developing a temporal framework. This is a process of dictating how the summing of the overdubbed parts will unfold in time, and what the final structure of the piece will be. Some producers achieve this by adding or removing layers of material at appropriate points in the mix. Quite often, this is achieved by physically manipulating a mixer, sequencer, effects, dynamic processing, equalization, and filtering while recording to a multi-track device. Other producers achieve similar results by using the automation features of computer-based digital audio workstations. Techno can consist of little more than cleverly programmed rhythmic sequences and looped motifs combined with signal processing of one variety or another, frequency filtering being a commonly used process. A more idiosyncratic approach to production is evident in the music of artists such as Twerk and Autechre, where aspects of algorithmic composition are employed in the generation of material.
Retro technology[link]
Instruments used by the original techno producers based in Detroit, many of which are now highly sought after on the retro music technology market, include classic drum machines like the Roland TR-808 and TR-909, devices such as the Roland TB-303 bass line generator, and synthesizers such as the Roland SH-101, Kawai KC10, Yamaha DX7, and Yamaha DX100 (as heard on Derrick May's seminal 1987 techno release Nude Photo).[86] Much of the early music sequencing was executed via MIDI (but neither the TR-808 nor the TB-303 had MIDI, only DIN sync) using hardware sequencers such as the Korg SQD1 and Roland MC-50, and the limited amount of sampling that was featured in this early style was accomplished using an Akai S900.[158]
The TR-808 and TR-909 drum machines have since achieved legendary status, a fact that is now reflected in the prices sought for used devices. During the 1980s the 808 became the staple beat machine in Hip hop production while the 909 found its home in House music and techno. It was "the pioneers of Detroit techno [who] were making the 909 the rhythmic basis of their sound, and setting the stage for the rise of Roland's vintage Rhythm Composer." In November 1995 the UK music technology magazine Sound on Sound noted:[159]
| “ | There can be few hi-tech instruments which still command a second-hand price only slightly lower than their original selling price 10 years after their launch. Roland's now near-legendary TR-909 is such an example—released in 1984 with a retail price of £999, they now fetch up to £900 on the second-hand market! The irony of the situation is that barely a year after its launch, the 909 was being 'chopped out' by hi-tech dealers for around £375, to make way for the then-new TR-707 and TR-727. Prices hit a new low around 1988, when you could often pick up a second-user 909 for under £200—and occasionally even under £100. Musicians all over the country are now garrotting themselves with MIDI leads as they remember that 909 they sneered at for £100—or worse, the one they sold for £50 (did you ever hear the one about the guy who gave away his TB-303 Bassline—now worth anything up to £900 from true loony collectors—because he couldn't sell it?) | ” |
File:Reason4 screenshot.jpg
Reason: a popular software based music production environment
By May 1996 Sound on Sound was reporting that the popularity of the 808 had started to decline, with the rarer TR-909 taking its place as "the dance floor drum machine to use." This is thought to have arisen for a number of reasons: the 909 gives more control over the drum sounds, has better programming and includes MIDI as standard. Sound on Sound reported that the 909 was selling for between £900 and £1100 and noted that the 808 was still collectible, but maximum prices had peaked at about £700 to £800.[160] Such prices have held in the 12 years since the article was published, this can be evidenced by a quick search on eBay. Despite this fascination with retro music technology, according to Derrick May "there is no recipe, there is no keyboard or drum machine which makes the best techno, or whatever you want to call it. There never has been. It was down to the preferences of a few guys. The 808 was our preference. We were using Yamaha drum machines, different percussion machines, whatever." [157]
Emulation[link]
In the latter half of the 1990s the demand for vintage drum machines and synthesizers motivated a number of software companies to produce computer based emulators. One of the most notable was the ReBirth RB-338, produced by the Swedish company Propellerhead and originally released in May 1997.[161] Version one of the software featured two TB-303s and a TR-808 only, but the release of version two saw the inclusion of a TR-909. A Sound on Sound review of the RB-338 V2 in November 1998 noted that Rebirth had been called "the ultimate techno software package" and mentions that it was "a considerable software success story of 1997".[162] In America Keyboard Magazine asserted that ReBirth had "opened up a whole new paradigm: modeled analog synthesizer tones, percussion synthesis, pattern based sequencing, all integrated in one piece of software".[163] Despite the success of ReBirth RB-338, it was officially taken out of production in September 2005. Propellerhead then made it freely available for download from a website called the "ReBirth Museum". The site also features extensive information about the software's history and development.[164]
In March 2001, with the release of Reason V1, Propellerhead upped the ante in providing a £300 software based electronic music studio, comprising a 14-input automated digital mixer, 99-note polyphonic 'analogue' synth, classic Roland-style drum machine, sample-playback unit, analogue-style step sequencer, loop player, multitrack sequencer, eight effects processors, and over 500 MB of synthesizer patches and samples. With this release Propellerhead were credited with "creating a buzz that only happens when a product has really tapped into the zeitgeist, and may just be the one that many [were] waiting for."[165] Reason has since achieved popular appeal and is now (as of 2011) at version 6.[166]
Technological advances[link]
In recent years, as computer technology has become more accessible and music software has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional musical performance practices:[167] for instance, laptop performance (laptronica)[168] and live coding.[169][170] In the last decade a number of software-based virtual studio environments have emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal.[171] These software-based music production tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have democratized music creation,[172] leading to a massive increase in the amount of home-produced music available to the general public via the internet. Artists can now also individuate their sound by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as Max/Msp and Reaktor and freeware packages such as Pure Data, SuperCollider, and ChucK. In some sense, as a result of technological innovation, the DIY mentality that was once a core part of dance music culture[173][174] is seeing a resurgence.[175][176]
Noted artists[link]
See also[link]
Bibliography[link]
- Anz, P. & Walder, P. (eds.), Techno, Hamburg: Rowohlt, 1999 (ISBN 3908010144).
- Barr, T., Techno: The Rough Guide, Rough Guides, 2000 (ISBN 978-1858284347).
- Brewster B. & Broughton F., Last Night a DJ Saved My Life: The History of the Disc Jockey, Avalon Travel Publishing, 2006, (ISBN 978-0802136886).
- Butler, M.J., Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Indiana University Press, 2006 (ISBN 978-0253218049).
- Cannon, S. & Dauncey, H., Popular Music in France from Chanson to Techno: Culture, Identity and Society, Ashgate, 2003 (ISBN 978-0754608493).
- Collin, M., Altered State: The Story of Ecstasy Culture and Acid House, Serpent's Tail, 1998 (ISBN 978-1852426040).
- Cosgrove, S. (a), "Seventh City Techno", The Face (97), p.88, May 1988 (ISSN 0263-1210).
- Cosgrove, S. (b), Techno! The New Dance Sound of Detroit liner notes, 10 Records Ltd. (UK), 1988 (LP: DIXG 75; CD: DIXCD 75).
- Cox, C.(Author), Warner D (Editor), Audio Culture: Readings in Modern Music, Continuum International Publishing Group Ltd., 2004 (ISBN 978-0826416155).
- Fritz, J., Rave Culture: An Insider's Overview, Smallfry Press, 2000 (ISBN 978-0968572108).
- Kodwo, E., More Brilliant Than the Sun: Adventures in Sonic Fiction, Quartet Books, 1998 (ISBN 978-0704380257).
- Nelson, A., Tu, L.T.N., Headlam Hines, A. (eds.), TechniColor: Race, Technology and Everyday Life, New York University Press, 2001 (ISBN 978-0814736043).
- Pesch, M. (Author), Weisbeck, M. (Editor), Techno Style: The Album Cover Art, Edition Olms; 5Rev Ed edition, 1998 (ISBN 978-3283002909).
- Rietveld, H.C., This is Our House: House Music, Cultural Spaces and Technologies, Ashgate Publishing, Aldershot, 1998 (ISBN 978-1857422429).
- Reynolds, S., Energy Flash: a Journey Through Rave Music and Dance Culture, Pan Macmillan, 1998 (ISBN 978-0330350563).
- Reynolds, S., Generation Ecstasy: Into the World of Techno and Rave Culture, Routledge, New York 1999 (ISBN 978-0415923736).[177]
- Savage, J., The Hacienda Must Be Built, International Music Publications, 1992 (ISBN 978-0863598579).
- Sicko, D., Techno Rebels: The Renegades of Electronic Funk, Billboard Books, 1999 (ISBN 978-0823084289).
- Sicko, D., Techno Rebels: The Renegades of Electronic Funk, 2nd ed., Wayne State University Press, 2010 (ISBN 978-0814334386).
- St. John, G.(ed.). Rave Culture and Religion, New York: Routledge, 2004. (ISBN 978-0415314497).
- St. John, G.(ed.), FreeNRG: Notes From the Edge of the Dance Floor, Common Ground, Melbourne, 2001 (ISBN 978-1863350846).
- St John, G. Technomad: Global Raving Countercultures. London: Equinox. 2009. ISBN 978-1-84553-626-8.
- Toop, D., Ocean of Sound, Serpent's Tail, 2001 [new edition] (ISBN 978-1852427436).
- Watten, B., The Constructivist Moment: From Material Text to Cultural Poetics, Wesleyan University Press, 2003 (ISBN 978-0819566102).
Filmography[link]
- High Tech Soul – Catalog No.: PLX-029; Label: Plexifilm; Released: 2006-09-19; Director: Gary Bredow; Length: 64 minutes.
- Technomania – Released: 1996 (screened at NowHere, an exhibition held at Louisiana Museum of Modern Art, Denmark, between May 15 and September 8, 1996); Director: Franz A. Pandal; Length: 52 minutes.
- Tresor Berlin: The Vault and the Electronic Frontier – Label: Pyramids of London Films; Released 2004; Director: Michael Andrawis; Length: 62 minutes
- Universal Techno on YouTube – Label: Les Films à Lou; Released: 1996; Director: Dominique Deluze; Length: 63 minutes.
- We Call It Techno! – A documentary about Germany's early Techno scene and culture – Label: Sense Music & Media, Berlin, DE; Released: June 2008; Directors: Maren Sextro & Holger Wick.
References[link]
- ^ According to Butler (2006:33) use of the term EDM "has become increasingly common among fans in recent years. During the 1980s, the most common catchall term for EDM was house music, while techno became more prevalent during the first half of the 1990s. As EDM has become more diverse, however, these terms have come to refer to specific genres. Another word, electronica, has been widely used in mainstream journalism since 1997, but most fans view this term with suspicion as a marketing label devised by the music industry".
- ^ a b Brewster 2006:354
- ^ a b c d Reynolds 1999:71. Detroit's music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the Belleville Three decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit as a distinct genre.
- ^ Keyboard Magazine 21 (231). July 1995.
- ^ "Explore music…Genre: Hi-NRG". Allmusic. http://www.allmusic.com/explore/style/d409. Retrieved 2009-07-20.
- ^ a b Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4 ed.). Backbeat Books. p. 582. ISBN 0-87930-628-9. http://books.google.co.uk/books?id=GJNXLSBlL7IC&pg=PT582. Retrieved 26 May 2011. "Typically, that birth is traced to the early '80s and the emaciated inner-city of Detroit, where figures such as Juan Atkins, Derrick May, and Kevin Saunderson, among others, fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space-race electric funk of George Clinton, the optimistic futurism of Alvin Toffler's The Third Wave (from which the music derived its name), and the emerging electro sound elsewhere being explored by Soul Sonic Force, the Jonzun Crew, Man Parrish, "Pretty" Tony Butler, and LA's Wrecking Cru."
- ^ Rietveld 1998:125
- ^ Sicko 1999:28
- ^ Having grown up with the latter-day effects of Fordism, the Detroit techno musicians read futurologist Alvin Toffler's soundbite predictions for change – 'blip culture', 'the intelligent environment', 'the infosphere', 'de-massification of the media de-massifies our minds', 'the techno rebels', 'appropriated technologies' – accorded with some, though not all, of their own intuitions, Toop, D. (1995), Ocean of Sound, Serpent's Tail, (p. 215).
- ^ Kodwo 1998
- ^ Reynolds 1999:51. ...techno artists often talk about what they do in the seemingly inappropriate language of traditional humanist art – 'expression', 'soul', 'authenticity', 'depth'.
- ^ Mc Leod, K.,"Space oddities: aliens, futurism and meaning in popular music", Popular Music (2003) Volume 22/3. Copyright 2003 Cambridge University Press, pp. 337–355.
- ^ Critzon, Michael (2001-09-17). "Eat Static is bad stuff". Central Michigan Life. http://www.cm-life.com/home/index.cfm?event=displayArticlePrinterFriendly&uStory_id=18da0484-aa27-4c21-9e8e-a2abdbb39b94. Retrieved 2007-08-12. [dead link]
- ^ Hamersly, Michael (2001-03-23). "Electronic Energy". The Miami Herald: 6G.
- ^ Schoemer, Karen (1997-02-10). "Electronic Eden". Newsweek: p. 60. Every Monday night, Natania goes to Koncrete Jungle, a dance party on new York's lower East Side that plays a hip, relatively new offshoot of dance music known as drum & bass—or, in a more general way, techno, a blanket term that describes music made on computers and electronic gadgets instead of conventional instruments, and performed by deejays instead of old-fashioned bands.
- ^ Brewster 2006:340–359
- ^ Cosgrove 1988a.
- ^ a b Sicko 1999
- ^ Reynolds 1999:12–40
- ^ "Release info & credits for Inner City's "Big Fun" original 12" single". Discogs.com. http://www.discogs.com/release/39861. Retrieved 2010-06-14.
- ^ Nielsen Business Media, Inc (1981-07-04). "7 tons of sound: German Kraftwerk". Billboard. http://books.google.com/?id=JiQEAAAAMBAJ&lpg=PT50&dq=kraftwerk&pg=PT50#v=onepage&q=kraftwerk&f=false. Retrieved 2010-10-29
- ^ Gholz, Carlton (2004-07-14). "The search for Heaven – How Ken Collier, a gay black DJ, influenced a generation". Metro Times (Detroit). http://www2.metrotimes.com/editorial/story.asp?id=6502. Retrieved 2010-10-29
- ^ a b Kodwo 1998:100
- ^ a b c d e Trask, Simon (December 1988). "Future Shock". Music Technology Magazine. http://www.mobeus.org/archives/juanatkins/.
- ^ Sicko 1999:79
- ^ Sicko 1999:71
- ^ Silcott, M. (1999). Rave America: New school dancescapes. Toronto, ON: ECW Press.
- ^ a b Brewster 2006:349
- ^ Reynolds 1998:15
- ^ a b Keyboard, Volume 19, Issues 7-12. GPI Publications. 1993. p. 28. http://books.google.co.uk/books?id=kJ4JAQAAMAAJ. Retrieved 2011-06-04.
- ^ a b Peter Stenshoel (May 18, 2011). "Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi". KPCC. http://www.scpr.org/blogs/offramp/2011/05/18/peter-stenshoels-album-week-what-me-worry-yukihiro/. Retrieved 2011-06-04.
- ^ YMO's early "techno"-named titles: the song "Technopolis" (1979), the album [i]Technodelic[/i] (1981), and a rare flexi disc EP, "The Spirit of Techno" (1983).
- ^ Sicko 1999:49
- ^ "Techno music pulses in Detroit". CNN. 2003-02-13. Archived from the original on 2007-10-12. http://web.archive.org/web/20071012184221/http://cnn.com/2003/TRAVEL/02/10/techno.exhibit.ap/. Retrieved 2007-08-11.
- ^ Arnold, Jacob (1999-10-17). "A Brief History of Techno". Gridface. http://www.gridface.com/features/a_brief_history_of_techno.html.
- ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music, Throbbing Words on Sound. Caipirinha Productions, Inc.. pp. 108–121. ISBN [[Special:BookSources/1189102406X|1189102406X]].
- ^ Funkadelic's, 1979 release, (Not Just) Knee Deep
- ^ Brewster 2006:350
- ^ Reynolds 1999:16–17.
- ^ Sicko 1999:56–58
- ^ Snobs, Brats, Ciabattino, Rafael, and Charivari are mentioned in Generation Ecstasy (Reynolds 1999:15); Gables and Charivari are mentioned in Techno Rebels (Sicko 1999:35,51–52). Citations still needed for Comrades, Hardwear, Rumours, and Weekends.
- ^ Sicko 1999:33–42,54–59
- ^ Dr. Rebekah Farrugia paraphrasing Derrick May in a review of High Tech Soul: The Creation of Techno Music (Directed by Gary Bredow. Plexifilm DVD PLX-029, 2006). Published in Journal of the Society for American Music (2008) Volume 2, Number 2, pp. 291–293.
- ^ Keyboard Magazine Vol. 21, No.7 (issue #231, July 1995).
- ^ Sicko 1999:74
- ^ Cosgrove 1988b. Juan's first group Cybotron released several records at the height of the electro-funk boom in the early '80s, the most successful being a progressive homage to the city of Detroit, simply entitled 'Techno City'.
- ^ Sicko 1999:75. Adding to the impact of Enter, the single "Clear" made a huge splash and became Cybotron's biggest hit, especially after it was remixed by Jose "Animal" Diaz. "Clear" climbed the charts in Dallas, Houston, and Miami, and spent nine weeks on the Billboard Top Black Singles chart (as it was called then) in fall 1983, peaking at No. 52. "Clear" was a success.
- ^ Unknown author. "Juan Atkins official Myspace page". http://www.myspace.com/68657561. Retrieved 2008-04-02.
- ^ Cosgrove 1988b. At the time, [Atkins] believed ["Techno City"] was a unique and adventurous piece of synthesizer funk, more in tune with Germany than the rest of black America, but on a dispiriting visit to New York, Juan heard Afrika Bambaataa's 'Planet Rock' and realized that his vision of a spartan electronic dance sound had been upstaged. He returned to Detroit and renewed his friendship with two younger students from Belleville High, Kevin Saunderson and Derrick May, and quietly over the next few years the three of them became the creative backbone of Detroit Techno. "Techno City" was released in 1984. Sicko 1999:73 clarifies Atkins was in New York in 1982, trying to get Cybotron's "Cosmic Cars" into the hands of radio DJs, when he first heard "Planet Rock"; so "Cosmic Cars", not "Techno City", is the unique and adventurous piece of synthesizer funk.
- ^ Sicko 1999:76
- ^ Sicko 2010:48-49
- ^ Butler 2006:43
- ^ Nelson 2001:154
- ^ "In 1985 Juan Atkins released the first record on his fledgling label Metroplex, 'No UFO's', now widely regarded as Year Zero of the techno movement." Cox, T. (2008), Model 500:Remake/remodel, interview with Atkins and Mike Banks hosted on www.residentadvisor.net
- ^ Interview with Detroit producer Alan Oldham hosted at Spannered.org. Oldham answers "The release of Model 500 No UFOs" when asked "what do you consider to be the most important turning points in the history of Detroit techno?"
- ^ a b Cosgrove 1988a. [Says Juan Atkins,] "Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it. As the price of sequencers and synthesizers has dropped, so the experimentation has become more intense. Basically, we're tired of hearing about being in love or falling out, tired of the R&B system, so a new progressive sound has emerged. We call it techno!"
- ^ a b c Cosgrove 1988a. Although the Detroit dance music has been casually lumped in with the jack virus of Chicago house, the young techno producers of the Seventh City claim to have their own sound, music that goes 'beyond the beat', creating a hybrid of post-punk, funkadelia and electro-disco...a mesmerizing underground of new dance which blends European industrial pop with black American garage funk...If the techno scene worships any gods, they are a pretty deranged deity, according to Derrick May. "The music is just like like Detroit, a complete mistake. It's like George Clinton and Kraftwerk stuck in an elevator." ...And strange as it may seem, the techno scene looked to Europe, to Heaven 17, Depeche Mode and the Human League for its inspiration. ...[Says an Underground Resistance-related group,] "Techno is all about simplicity. We don't want to compete with Jimmy Jam and Terry Lewis. Modern R&B has too many rules: big snare sounds, big bass and even bigger studio bills." Techno is probably the first form of contemporary black music which categorically breaks with the old heritage of soul music. Unlike Chicago House, which has a lingering obsession with seventies Philly, and unlike New York Hip Hop with its deconstructive attack on James Brown's back catalogue, Detroit Techno refutes the past. It may have a special place for Parliament and Pete Shelley, but it prefers tomorrow's technology to yesterday's heroes. Techno is a post-soul sound...For the young black underground in Detroit, emotion crumbles at the feet of technology. ...Despite Detroit's rich musical history, the young techno stars have little time for the golden era of Motown. Juan Atkins of Model 500 is convinced there is little to be gained from the motor-city legacy... "Say what you like about our music," says Blake Baxter, "but don't call us the new Motown...we're the second coming."
- ^ a b c Cosgrove 1988b. [Derrick May] sees the music as post-soul and believes it marks a deliberate break with previous traditions of black American music. "The music is just like Detroit" he claims, "a complete mistake, it's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."
- ^ Rietveld 1998:124–127
- ^ Rietveld 1998:127
- ^ Atkins, Juan (1992-05-22). Dance Music Report (DMR) 15 (9): 19. ISSN 0883-1122.
- ^ Sicko 1999:77–78
- ^ a b McCollum, Brian (2002-05-22). Detroit Electronic Music Festival salutes Chicago connection. Detroit Free Press. http://www.accessmylibrary.com/coms2/summary_0286-8849128_ITM. Retrieved 2008-04-04.
- ^ Harrison, Andrew (July 1992). "Derrick May". Select (London): pp. 80–83. "RIR singles like 'Strings of Life'...are among the few classics in the debased world of techno"
- ^ "Strings of Life" appears on compilations titled The Real Classics of Chicago House 2 (2003), Techno Muzik Classics (1999), House Classics Vol. One (1997), 100% House Classics Vol. 1 (1995), Classic House 2 (1994), Best of House Music Vol. 3 (1990), Best of Techno Vol. 4 (1994), House Nation – Classic House Anthems Vol. 1 (1994), and numerous other compilations with the words "techno" or "house" in their titles.
- ^ Lawrence, Tim (2005-06-14). "Acid? Can You Jack? (Soul Jazz liner notes)". http://www.timlawrence.info/linernotes/2005/acidhousesj.php. Retrieved 2008-04-03.
- ^ Brewster 2006:353
- ^ a b Rietveld 1998:40–50
- ^ Rietveld 1998:50–57
- ^ Rietveld 1998:54–59
- ^ Brewster 2006:398–443
- ^ Brewster 2006:419. I was on a mission because most people hated house music and it was all rare groove and hip hop...I'd play Strings of Life at the Mud Club and clear the floor. Three weeks later you could see pockets of people come onto the floor, dancing to it and going crazy – and this was without ecstasy – Mark Moore commenting on the initially slow response to House music in 1987.
- ^ Cosgrove 1988a. Although it can now be heard in Detroit's leading clubs, the local area has shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World (New York), The Hacienda (Manchester), Rock City (Nottingham) and Downbeat (Leeds) where the techno sound has found most support. Ironically, the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its name with one of Britain's oldest new romantic groups.
- ^ a b c Sicko 1999:98
- ^ Techno! The New Dance Sound of Detroit info at Discogs.com
- ^ Chin, Brian (March 1990). House Music All Night Long – Best of House Music Vol. 3 (liner notes). Profile Records, Inc.. Detroit's "techno" ... and many more stylistic outgrowths have occurred since the word "house" gained national currency in 1985.
- ^ a b Bishop, Marlon; Glasspiegel, Wills (2011-06-14). "Juan Atkins [interview for Afropop Worldwide"]. World Music Productions. http://www.afropop.org/multi/interview/ID/203/. Retrieved 2011-06-17.
- ^ Savage, Jon (1993). "Machine Soul: A History Of Techno". The Village Voice. http://www.rocksbackpages.com/article.html?ArticleID=10053. "The U.K. likes discovering trends," Rushton says. "Because of the way that the media works, dance culture happens very quickly. It's not hard to hype something up. ...When the first techno records came in, the early Model 500, Reese, and Derrick May material, I wanted to follow up the Detroit connection. I took a flyer and called up Transmat; I got Derrick May and we started to release his records in England. ...Derrick came over with a bag of tapes, some of which didn't have any name: tracks which are now classics, like 'Sinister' and 'Strings of Life.' Derrick then introduced us to Kevin Saunderson, and we quickly realized that there was a cohesive sound of these records, and that we could do a really good compilation album. We got backing from Virgin Records and flew to Detroit. We met Derrick, Kevin, and Juan and went out to dinner, trying to think of a name. At the time, everything was house, house house. We thought of Motor City House Music, that kind of thing, but Derrick, Kevin, and Juan kept on using the word techno. They had it in their heads without articulating it; it was already part of their language."
- ^ Sicko 1999:98,101
- ^ Sicko 1999:100,102
- ^ a b Sicko 1999:95–120
- ^ Sicko 1999:102. Once Rushton and Atkins set techno apart with the Techno! compilation, the music took off on its own course, no longer parallel to the Windy City's progeny. And as the 1980s came to a close, the difference between techno and house music became increasingly pronounced, with techno's instrumentation growing more and more adventurous.
- ^ a b c Sicko 1999:92–94
- ^ Reynolds 1999:131. Moby's track "Go!", a work featuring a sample from the Twin Peaks opening theme, entered the top 20 of UK Charts in late 1991.
- ^ Reynolds 1999:219–222. Presenting themselves as a sort of techno Public Enemy, Underground Resistance were dedicated to 'fighting the power' not just through rhetoric but through fostering their own autonomy.
- ^ a b Sicko 1999:80
- ^ Reynolds 1999:219
- ^ Sicko 1999:121–160
- ^ a b Sicko 1999:161–184
- ^ a b c Reynolds 2006:228–229
- ^ Reynolds 1999:215
- ^ Sicko 1999:181
- ^ a b Shallcross, Mike (July 1997). "From Detroit To Deep Space". The Wire (161): p. 21.
- ^ Short excerpt from special on German "Tele 5" from Dec. 8, 1988 on YouTube. The show is called "Tanzhouse" hosted by a young Fred Kogel. It includes footage from Hamburg's "Front" with Boris Dlugosch, Kemal Kurum's "Opera House" and the "Prinzenbar".
- ^ a b c d Robb, D. (2002), Techno in Germany: Its Musical Origins and Cultural Relevance, German as a Foreign Language Journal, No.2, 2002, (p. 132–135).
- ^ Messmer, S. (1998), Eierkuchensozialismus, TAZ, 10.7.1998, (p. 26).
- ^ a b Brewster 2006:361
- ^ Henkel, O.; Wolff, K. (1996) Berlin Underground: Techno und Hiphop; Zwischen Mythos und Ausverkauf, Berlin: FAB Verlag, (pp. 81–83).
- ^ Reynolds 1999:112
- ^ Sicko 1999:145
- ^ Schuler, M.(1995),Gabber + Hardcore,(p. 123), in Anz, P.; Walder, P. (Eds) (1999 rev. edn, 1st publ. 1995, Zurich: Verlag Ricco Bilger)Techno. Reinbek: Rowohlt Taschenbuch Verlag.
- ^ Reynolds 1999:110
- ^ a b Sextro, M. & Wick H. (2008), We Call It Techno!, Sense Music & Media, Berlin, DE.
- ^ Simon Reynolds, in an interview with former Mille Plateaux label boss Achim Szepanski, for Wire Magazine. Reynolds, S. (1996), Low end theory, The Wire, No. 146, 4/96.
- ^ Sicko 2010:118–120
- ^ Sicko 2010:118–120
- ^ Tresor II: Berlin & Detroit – A Techno Alliance album details at Discogs
- ^ Sicko 1999:199–200
- ^ Mike Banks interview, The Wire, Issue #285 (November '07)
- ^ Osselaer, John (2001-02-01). "Robert Hood interview". Overload Media/Spannered. http://www.spannered.org/music/802/. Retrieved 2011-12-02.
- ^ Rubin, Mike (2001-09-30). "Techno Dances With Jazz". New York Times. http://www.nytimes.com/2001/09/30/arts/music-techno-dances-with-jazz.html?pagewanted=all. Retrieved 2011-12-02. "Electronic producers of all stripes are now inspired by a broader jazz palette, whether as fodder for samples, as part of the search for rhythmic diversity, or as a reference point for their own artistic aspirations toward a cerebral sophistication removed from the sweat of the dance floor." The article provides, as examples, the music of Kirk Degiorgio, Matthew Herbert, Spring Heel Jack, Tom Jenkinson (Squarepusher), Jason Swinscoe (Cinematic Orchestra) and Innerzone Orchestra (Carl Craig with ex-Sun Ra/James Carter group members, et al.).
- ^ Sicko 1999:198
- ^ Gerald Simpson (A Guy Called Gerald) maintains that "Pacific State" was intended for a John Peel session exclusively, but 808 State's Graham Massey and Martin Price added additional elements by drawing upon Massey's collection of exotic jazz records for inspiration. This led to the inclusion of a distinctive saxophone solo. Massey recalls that: We were trying to do something in the vein of Marshall Jefferson's 'Open Your Eyes'...That track was happening everywhere. The production was released as a white label in May 1989 and later issued on the mini-album Quadrastate at the end of July that year, just as the second Summer of Love was flowering. Massey remembers taking the white label to Mike Pickering, Graeme Park, and Jon Da Silva, and notes that it rose through the ranks to become the last tune of the night. Lawrence, T (2006), Discotheque: Haçienda, sleeve notes for album release of the same name, retrieved from the authors website
- ^ Butler 2006:114. Graham Massey has discussed the use of unusual meters in 808 State's music commenting online on June 18, 2004, that: I always thought Cobra Bora could have stood a chance. It was sometimes played at Hot Night at the Hacienda despite its funny time signature (the feel of the track was created by combining parts in 6/8 time with others in 4/4).
- ^ a b Kodwo 1998:127
- ^ "Galaxy 2 Galaxy – A Hi Tech Jazz Compilation". Submerge. http://www.submerge.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=SUBCD-3010-2. Retrieved 2008-07-21. "Galaxy 2 Galaxy is a band that was conceptualized with the first hitech Jazz record produced by UR in 1986/87 and later released in 1990 which was Nation 2 Nation (UR-005). Jeff Mills and Mike Banks had visions of Jazz music and musicians operating on the same "man machine" doctrine dropped on them from Kraftwerk. Early experiments with synthesizers and jazz by artists like Herbie Hancock, Stevie Wonder, Weather Report, Return to Forever, Larry Heard and Lenny White's Astral Pirates also pointed them in this direction. UR went on to produce and further innovate this form of music which was coined 'Hitech Jazz' by fans after the historic 1993 release of UR's Galaxy 2 Galaxy (UR-025) album which included the underground UR smash titled 'Hitech Jazz'."
- ^ "Dave Angel: Background Overview at Discogs". 2003-02-13. http://www.discogs.com/artist/Dave+Angel. Retrieved 2007-08-11.
- ^ Angelic Upstart: Mixmag interview with Dave Angel detailing his interest in jazz. Retrieved from Techno.de
- ^ Sicko 2010:138-139
- ^ Brewster 2006:364
- ^ Reynolds 1999:183
- ^ Anker M., Herrington T., Young R. (1995), New Complexity Techno, The Wire, Issue #131 (January '95)
- ^ Reynolds 1999:182
- ^ Tracklisting for the Warp Records 1992 compilation Artificial Intelligence
- ^ Birke S. (2007), "Label Profile: Warp Records", The Independent (UK), Music Magazine (supplement), newspaper article published 2007-02-11
- ^ "Of all the terms devised for contemporary non-academic electronic music (the sense intended here), 'electronica' is one of the most loaded and controversial. While on the one hand it does seem the most convenient catch-all phrase, under any sort of scrutiny it begins to implode. In its original 1992–93 sense it was largely coterminous with the more explicitly elitist 'intelligent techno', a term used to establish distance from and imply distaste for, all other more dancefloor-oriented types of techno, ignoring the fact that many of its practitioners such as Richard James (Aphex Twin) were as adept at brutal dancefloor tracks as what its detractors present as self-indulgent ambient 'noodling'". Blake, Andrew, Living Through Pop, Routledge, 1999. p 155.
- ^ Reynolds 1999:181
- ^ Reynolds 1999:163. The traveling lifestyle began in the early seventies, as convoys of hippies spent the summer wandering from site to site on the free festival circuit. Gradually, these proto-crusty remnants of the original counterculture built up a neomedieval economy based on crafts, alternative medicine, and entertainment...In the mid-eighties, as squatting became a less viable option and the government mounted a clampdown on welfare claimants, many urban crusties tired of the squalor of settled life and took to the roving lifestyle.
- ^ a b c d St. John 2001:100–101
- ^ "Public Order: Collective Trespass or Nuisance on Land – Powers in relation to raves". Criminal Justice and Public Order Act 1994. Her Majesty's Stationery Office. 1994. http://www.opsi.gov.uk/acts/acts1994/Ukpga_19940033_en_6.htm#mdiv63. Retrieved 2006-01-17.
- ^ Bush, Calvin, Techno - The Final Frontier?, Muzik, Issue No.4, September 1995, p.48-50
- ^ Cox 2004:414. Any form of electronica genealogically related to Techno but departing from it in one way or another.
- ^ Loubet E.& Couroux M., Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere, Computer Music Journal, Vol. 24, No. 4. (Winter, 2000), pp. 19–32.
- ^ Ross, Andrew; Lysloff, René; Gay, Leslie (2003). Music and Technoculture. Wesleyan University Press. pp. 185–186. ISBN 0-8195-6514-8.
- ^ Cinquemani, Sal. "Miss E...So Addictive". Slant Magazine. http://www.slantmagazine.com/music/music_review.asp?ID=64. Retrieved 2009-12-21.
- ^ Gorell, Robert. "Permanent record: Jeff Mills talks Detroit techno and the exhibit that hopes to explain it.". Metro Times. http://www.metrotimes.com/editorial/story.asp?id=4496. Retrieved 2007-08-11.
- ^ "Ford Unveils New Limited Street Edition Focus" (Press release). Ford Motors. 2000-10-06. http://media.ford.com/article_display.cfm?article_id=6225. Retrieved 2009-01-10. ""Detroit Techno is a music style that is recognized by young people around the world. We know that music is one of the biggest passions for our young car buyers, so it made sense for us to incorporate a unique music element in our campaign." Focus and Street Edition will feature an image exclaiming "Detroit Techno" on posters and in print ads."
- ^ "New Ford Focus Commercial Features Ground Breaking Juan Atkins' Techno Hit" (Press release). 2000-11-08. http://www.theautochannel.com/news/press/date/20001108/press030389.html.
- ^ a b McGarvey, Sterling. "Derrick May". Lunar Magazine. http://www.lunarmagazine.com/features/may.php.
- ^ Baishya, Kopinjol (2005-10-17). "Techno as it should be: Juan Atkins and minimal techno". Chicago Flame. http://www.chicagoflame-inferno.com/news/2005/10/17/Music/Techno.As.It.Should.Be.Juan.Atkins.And.Minimal.Techno-1023037.shtml.
- ^ "DJ Derek May Profile". Fantazia Rave Archive. http://www.fantazia.org.uk/DJs/derekmay.htm. Retrieved 2009-01-10.
- ^ Sicko 1999:45–49
- ^ Brewster 2006:343–346
- ^ a b Reynolds 1999:190
- ^ Gillen, Brendan (2001-11-21). "Name that number: The history of Detroit's first techno record". Metro Times Detroit. http://www.metrotimes.com/editorial/story.asp?id=2691. Retrieved 2009-01-10.
- ^ Sicko 1999:48
- ^ "Raymond Scott's Manhattan Research". 2006-02-21. http://raymondscott.com/mripr.html. Retrieved 2007-08-11. Extensive collection of review excerpts hosted on the Raymond Scott website.
- ^ Wrench, Nigel (2008-07-18). "Lost tapes of the Dr Who composer". BBC News. http://news.bbc.co.uk/1/hi/entertainment/7512072.stm. Retrieved 2009-01-10.
- ^ Pattison, Louis (10 April 2010). "Charanjit Singh, acid house pioneer". The Guardian. http://www.guardian.co.uk/music/2010/apr/10/charanjit-singh-acid-house.
- ^ Aitken, Stuart (10 May 2011). "Charanjit Singh on how he invented acid house ... by mistake". The Guardian. http://www.guardian.co.uk/music/2011/may/10/charanjit-singh-acid-house-ten-ragas.
- ^ Butler 2006:12–13,94
- ^ Fikentscher, K. (1991), The Decline of Functional Harmony in Contemporary Dance Music, Paper presented at the 6th International Conference On Popular Music Studies, Berlin, Germany, July 15–20, 1991.
- ^ Pope, R. (2011), Hooked on an Affect: Detroit Techno and Dystopian Digital Culture, Dancecult: Journal of Electronic Dance Music Culture 2 (1): p. 38
- ^ Butler 2006:8
- ^ Butler 2006:208–209,214
- ^ Butler 2006:94
- ^ a b System 7 interview with Mark Roland in: Muzik, Issue No.4, September 1995, p.97
- ^ Keyboard Magazine Vol. 21, No.7 (issue #231), July 1995, 12 Who Count: Juan Atkins.
- ^ 909 LIVES!: Overview of the Roland TR-909 drum machine published by Sound on Sound magazine in November 1995.
- ^ 808 Statement: Overview of the Roland TR-808 drum machine published by Sound on Sound magazine in May 1997.
- ^ BORN WIBBLY Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the original ReBirth RB-338 published by Sound on Sound magazine in August 1997
- ^ THE COOL OF REBIRTH Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the ReBirth RB-338 V2 published by Sound on Sound magazine in November 1998
- ^ Jim Aikin, Keyboard Magazine, reprinted in Software Synthesizers: The Definitive Guide to Virtual Musical Instruments. Backbeat Books, 2003.
- ^ ReBirth Museum
- ^ REASONS TO BE CHEERFUL Propellerhead Software Reason Virtual Music Studio. Published by Sound on Sound magazine in March 2001
- ^ Overview of Reason 6 hosted at the Propellerhead website.
- ^ Emmerson, S. (2007), Living Electronic Music, Ashgate, Adlershot, pp. 111–113.
- ^ Emmerson, S. (2007), pp. 80–81.
- ^ Emmerson, S. (2007), pp. 115.
- ^ Collins, N.(2003a), Generative Music and Laptop Performance, Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 67–79.
- ^ "23rd Annual International Dance Music Awards Nominees & Winners". http://www.wintermusicconference.com/events/idmas/winners2008.php. Retrieved 2009-01-14. Best Audio Editing Software of the Year – 1st Ableton Live, 4th Reason. Best Audio DJ Software of the Year – Ableton Live.
- ^ Chadabe, J., Electronic music and life, Organised Sound, 9(1): 3–6, 2004 Cambridge University Press, United Kingdom.
- ^ St. John, G.(ed.), FreeNRG: Notes From the Edge of the Dance Floor, Common Ground, Melbourne, 2001,(pp. 93–102).
- ^ Rietveld, H (1998), Repetitive Beats: Free Parties and the Politics of Contemporary DIY Dance Culture in Britain, in George McKay (ed.), DIY Culture: Party and Protest in Nineties Britain, pp.243–67. London: Verso.
- ^ Indy Media item mentioning DIY resurgence: One year of DIY Culture
- ^ Gillmor, D., Technology feeds grassroots media, BBC news report, published Thursday, 9 March 2006, 17:30 GMT.
- ^ Generation Ecstasy is based on Energy Flash, but is a unique edition significantly rewritten for the North American market. Its copyright date is 1998 but it was first published July 1999.
External links[link]
- Sounds Like Techno – an online documentary exploring techno music, from its roots and early influences in the US to its place in Australian music today.
- From the Autobahn to I-94: The Origins of Detroit Techno and Chicago House – reminiscences by techno and house innovators
- Korg EMX Summer in Detroit on YouTube – A video example of techno being performed live.
- Clip from a 1989 documentary featuring interviews with Gerald Simpson (A Guy Called Gerald) and Derrick May on YouTube
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