DETROIT Einstellungen

[princessoftechno]

An alle Experten:

Könnt ihr mir Dj´s nennen die Detroit auflegen!? War mal auf einem Festl und da war ein echt genialer Sound und jemand meinte zu mir, dies wäre Detroit!

Also klärt mich bitte auf!!

lg

[Chriskeepsdiggin...]

Machen wir´s ander, vielleicht hilfts einen Überblick zu erhalten - bitte Texte und links selber auf angeführten Pages besuchen, lesen und ja ...............................!?

This is the cream of Detroit techno - nothing beats it.


* Artists

Juan Atkins aka Model 500
Aux 88
Carl Craig
Drexciya
Richie Hawtin aka Plastikman / F.U.S.E.
Kenny Larkin
Derrick May
Jeff Mills
Stacey Pullen
Kevin Saunderson
Suburban Knight
Underground Resistance
Claude Young


* Labels

Acacia Records
DJ International
Discomania
Fragile Records
Matrix Records
Metroplex (Unofficial)
Planet E Records
Plus 8  (Unofficial)
Probe
Post Contemporary
Red Planet (Hyperreal)
Retroactive
Seventh City
Sinewave
Stealth
Submerge
Switch
Telepathic
Transmat
UR

MACHINE SOUL
A History Of Techno by Jon Savage
This is the short version

There are obviously ethical considerations here --it's easy to understand James Brown's outrage as his uncredited beats and screams underpin much of today's black music-- but at its best, today's new digital, or integrated analog and digital, technology can encourage a free interplay of ideas, a real exchange of information. Most recording studios in the U.S. and Europe will have a sampler and a rack of CDs: a basic electronic library of Kraftwerk, James Brown, Led Zeppelin --today's Sound Bank.

Rap is where you first heard it --Grandmaster Flash's 1981 "Wheels of Steel," which scratched together Queen, Blondie, the Sugarhill Gang, the Furious Five, Sequence, and Spoonie Gee --but what is sampling if not digitized scratching? If rap is more an American phenomenon, techno is where it all comes together in Europe as producers and musicians engage in a dialogue of dazzling speed.

At the same time, Kraftwerk bought a Moog synthesizer, which enabled them to harness their long electronic pieces to a drum machine. The first fruit of this was "Autobahn," a 22-minute motorway journey, from the noises of a car starting up to the hum of cooling machinery. In 1975, an edited version of "Autobahn" was a top 10 hit. It wasn't the first synth hit --that honor belongs to Gershon Kingsley's hissing "Popcorn," performed by studio group Hot Butter-- but it wasn't a pure novelty either.

The breakthrough came with 1977's Trans-Europe Express: again, the concentration on speed, travel, pan-Europeanism. The album's center is the 13-minute sequence that simulates a rail journey: the click-clack of metal wheels on metal rails, the rise and fade of a whistle as the train passes, the creaking of coach bodies, the final screech of metal on metal as the train stops. If this wasn't astounding enough, 1978's Man Machine further developed ideas of an international language, of the synthesis between man and machine.

More surprisingly, Kraftwerk had an immediate impact on black dance music: as Afrika Bambaataa says in David Toop's Rap Attack, "I don't think they even knew how big they were among the black masses back in '77 when they came out with 'Trans-Europe Express.' When that came out, I thought that was one of the best and weirdest records I ever heard in my life." In 1981, Bambaataa and the Soulsonic Force, together with producer Arthur Baker, paid tribute with "Planet Rock," which used the melody from "Trans-Europe Express" over the rhythm from "Numbers." In the process they created electro and moved rap out of the Sugarhill age.

Derrick May once described techno as "just like Detroit, a complete mistake. It's like George Clinton and Kraftwerk stuck in an elevator." "I've always been a music lover," says Juan Atkins. "Everything has a subconscious effect on what I do. In the 1970s I was into Parliament, Funkadelic; as far back as '69 they were making records like Maggot Brain, America Eats Its Young. But if you want the reason why that happened in Detroit, you have to look at a DJ called Electrifying Mojo: he had five hours every night, with no format restrictions. It was on his show that I first heard Kraftwerk."

Atkins and 3070 called themselves Cybotron, a futuristic name in line with the ideas they had taken from science fiction, P-Funk, Kraftwerk, and Alvin Toffler's The Third Wave. "We had always been into futurism.

By 1985, Atkins hooked up with fellow Belleville High alumni Derrick May and Kevin Saunderson. The three of them began recording together and separately, under various names: Model 500 (Atkins), Reese (Saunderson), Mayday, R-Tyme, and Rhythim is Rhythim (May). All shared an attitude toward making records --using the latest in computer technology without letting machines do everything-- and a determination to overcome their environment; like May has said, " We can do nothing but look forward."

The trio put out a stream of records in the Detroit area on the Transmat and KMS labels: many of these, like "No UFO's," "Strings of Life," "Rock to the Beat," and "When He Used To Play," have the same tempo, about 120 bpm, and feature blank, otherworldly voices --which, paradoxically, communicate intense emotion. These records --now rereleased in Europe on compilations like Retro Techno Detroit Definitive (Network U.K.) or Model 500: Classics (R&S Belgium)-- were as good, if not better, as anything coming out of New York or even Chicago, but because of Detroit's isolation few people in the U.S. heard them at the time. It took English entrepreneurs to give them their correct place in the mainstream of dance culture.

Like many others, Neil Rushton was galvanized by the electronic music coming out of Chicago mid-decade, which was successfully codified in the English market under the trade name "house." A similar thing happened in Chicago as in Detroit: away from the musical mainstream on both coasts, DJs like Frankie Knuckles and Marshall Jefferson had revived a forgotten musical form, disco, and adapted it to the environment of gay clubs like the Warehouse. The result was a spacey, electronic sound, released on local labels like Trax and DJ International: funkier and more soulful than techno, but futuristic. As soon as it was marketed in the U.K. as house in early 1987, it because a national obsession with No. 1 hits like "Love Can't Turn Around" and "Jack Your Body."
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Derrick May on Techno
Techno is just like Detroit, a complete mistake. It's like George Clinton and Kraftwerk stuck in an elevator." -- Derrick May

Techno and the European Avant Garde

If there is one central idea in techno, it is of the harmony between man and machine. As Juan Atkins puts it: "You gotta look at it like, techno is technological. It's an attitude to making music that sounds futuristic: something that hasn't been done before." This idea is commonplace throughout much of avant-garde 20th-century art --early musical examples include Russolo's 1913 Art of Noises manifesto and '20s ballets by Erik Satie ("Relâche") and George Antheil ("Ballet méchanique"). Many of Russolo's ideas prefigure today's techno in everything but the available hardware, like the use of nonmusical instruments in his 1914 composition, Awakening of a City. [more ...]

Techno in the US and Europe

The first wave of bands to make synthpop had nearly all been European, names like Telex , Kraftwerk, Giorgio Moroder will sound familiar.

The second wave was clearly American, with Detroit techno showing the way.

Techno and Black Sience Fiction

Juan Atkins and 3070 called themselves Cybotron, a futuristic name in line with the ideas they had taken from science fiction, P-Funk, Kraftwerk, and Alvin Toffler's The Third Wave. "We had always been into futurism. We had a whole load of concepts for Cybotron: a whole techno-speak dictionary, an overall idea which we called the Grid. It was like a video game which you entered on different levels." By 1984-85, they had racked up some of the finest electronic records ever, produced in their home studio in Ypsilanti: tough, otherworldly yet warm cuts like "Clear," "R-9", and the song that launched the style, "Techno City." [more ...]

Techno and Detroit,USA
Because it's now accepted as undeniable history that Carl, Kevin, Derrick and Juan Atkins somersaulted dance and electronic music beyond disco, electro, Kraftwerk, Eno, Kraut Rock, P-Funk, New Romantic and New Order into something new. At the time they called it techno. [more ...]
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Weier führende links & Infos auf

http://www.jahsonic.com/DetroitTechno.html

http://www.submerge.com (Verriebsfirma von UR)

Da findet sich ausreichend zum stöbern und lernen über das Thema Detroit.....
- sollte mehr benötigt werden, einfach Bescheid geben - stöbere dann in meiner Linkliste......

Der Beitrag wurde von Chrise bearbeitet: 16 Jan 2003, 20:02