Santiago Salazar Santonio Echols Sean Deason Seth

Total Page：16

File Type：pdf, Size：1020Kb

Santiago Salazar Santonio Echols Sean Deason Seth

ANN SAUNDERSON GARY MARTIN QUENTIN HARRIS ANGIE LINDER GARY CHANDLER ALAN OLDHAM GERALD BRUNSON ROBERT HOOD AUX 88 GENERATION NEXT RICK WILHITE A NUMBER OF NAMES GARI ROMALIS RYAN CROSSON ANDY TOTH GREGORY COLLIER RAY 7 ANNIX RICK WADE ANDY GARCIA HEINRICH MÜLLER REGGIE HARRELL AMP FIDDLER RON COOK ALEXANDRES LUGO INNER CITY A BLAKTONY HORTON SUPERDRE ALTON MILLER JUAN ATKINS SCAN 7 ANTHONY SHAKE SHAKIR JAY DENHAM STACEY “HOTWAXX“ HALE ABDUL QADIM HAQQ JOHN E. COLLINS SCOTT GROOVES JTC SANTIAGO SALAZAR BLAKE BAXTER JOSH GREENWOOD SANTONIO ECHOLS BRUCE BAILEY J. GARCIA SEAN DEASON BUZZ GOREE JAY DANIEL SETH TROXLER BILL BEAVER JEFFREY WOODWARD SAM VALENTI BRIAN KAGE JESSICA CARE MOORE STRAND JOE BEEZY BIG STRICK SINISTARR BURDEN BROTHERS JEFFREY SFIRE BRENT SCUDDER JON DIXON SEAN TATE BRIAN GILLESPIE JENNY LAFEMME SOULFUL UNDERGROUND JOY SANTIAGO CLARK SHAUN REEVES CORNELIUS HARRIS SUGA SHONUFF & FLO REAL CLAUDE YOUNG JR. KENNY LARKIN CARL CRAIG KEITH TUCKER TONY FOSTER CAROL MARVIN KEVIN SAUNDERSON TIM BAKER CRAIG HUCKABY KEVIN REYNOLDS TOMMIE COOL CLIFF THOMAS KENT SPENCER TIMELINE CHUCK DANIELS KEITH WORTHY T.LINDER K-HAND CHEZ DAMIER THOMAS BARNETT CHARLES HICKS KEVIN DYSARD CHARIVARI GROUP KERO THERESA HILL KAI ALCE TODD JOHNSON D. RICHARDSON TOMMY HAMILTON DAVINA BUSSEY LEE CURTISS TONY NOVA DETROIT TECHNO MILITIA LUKE HESS T. CARLITA DANIEL BELL LINDA G TIM STEWARD DJ GODFATHER LOS HERMANOS DJ ROACH WINNETTRA SAWYER DJ MORESSE MONTY LUKE WALTER WASACZ DJ BONE MIKE HUCKABY MIKE HIMES DJ AL ESTER 4 HOUR OF LOVE DIMITRI HEGEMANN MARK TAYLOR DJ FINGERS MIKE ARCHER DJ ASSAULT MARCELLUS PITTMAN ZANA SMITH DEREK PLASLAIKO MIKEL SMITH DJ TAZ MODEL 500 DJ RAYBONE JONES MIKE BANKS DJ ART PAYNE MIKE AGENT X CLARK DJ PSYCHO MERACHKA DIVINITI MICHAEL FOTIAS DARKCUBE MILTON BALDWIN DJ SEOUL MOODYMANN DJ MINX MIKE GRANT DJ DI’JITAL MIKE SERVITO DJ CENT MARSHALL APPLEWHITE DEEPCHORD MARK FLASH DRU RUIZ MATTHEW DEAR DRAND D-WYNN NEIL V. DEZ ANDRES NICK SPEED DJ HUMP THE GRINDER NORM TALLEY DJ SURGEON NIKO MARKS DETROIT GRAND PUBHAS NANCY GAVOOR DJ STINGRAY 313 DELANO SMITH ORLANDO VOORN DE’SEAN JONES OCTAVE ONE DERWIN HALL OB IGNITT D-KNOX DERRICK THOMPSON PAUL RANDOLPH DOC MIDI PATRICE SCOTT PAUL HILL ERIC JOHNSON PAXAHAU EDDIE FOWLKES POSATRONIX ERNO PUNISHER ECTOMORPH PHIL THA MIXX EARL MIXXIN MCKINNEY PIRAHNAHEAD POSEIDON FELTON HOWARD PATRICK RUSSELL FATHER ABRAHAM REEL BY REAL RYAN ELLIOTT .

Copy Link

Recommended publications

August-07-Show Minimal Techno
august-07-show minimal techno our guest of the august-07-show - ata tak - is guiding us from sacramento to westerburg. from the birthplace of daniel bell to the place of residence of dominic eulberg. from the seeds of a certain sound-aesthetic to the place where it's currently in blossom. we talk about rhythm, reduction, bleeps and a very very thight mixing, for what ata tak has stunning skills. expect rare & twin- kling valuables all-over! - ata tak is introduced by new.com (p45/ cmfrt_ns_prdctns) • total playing time: 3h/18m/59s • mixed by ata tak & new.com • produced by new.com • recorded the 16th of august 2007 @ www.audioasyl.net • download (mp3/128kbs/185mb) over p45.ch & comfortnoise.com playlist new.com is playing: 000:08 - krak street boyz feat. big bully & lil dirty - listening man - tuning spork family affair 09 006:33 - soul capsule - beauty and the beat - perlon 63 015:44 - gez varley - political prisoner - k7 23lp 019:50 - lb dub corp - phase action - mote-evolver 06 022:20 - sarah goldfarb - dj is not a machine - curle 06 027:40 - cybotron - clear (troy pierce rmx) - juno 03 031:17 - ness - ear raw - 6th studio 01 036:18 - squeeks & kaoss - squeeks & kaoss (jamie jones orinoco rmx) - im- migrant 31 040:40 - de walta & aquatic - schulze - kalk pets 08 046:30 - norman nodge - nn 8.0 - mdr 03 052:58 - beat pharmacy - wata (acid dub) - deep space media 50169 057:19 - deepchord - wuerfel - deep chord 07 ata tak is playing: 061:50 - the vision - detroit: one circle - metroplex 25 067:53 - dbx - loosing control - accelerate 102
[Show full text]
Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July
ICA Press release: 26 May 2016 Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July Techno! The New Dance Sound of Detroit (1988). Courtesy Neil Rushton and 10 Records LTD The next ICA Fox Reading Room exhibition will present a studied look at the evolution and subsequent dispersion of ‘Detroit Techno music’. This term, coined in the late 1980s, reflects the musical and social influences that informed early experiments merging sounds of synth-pop and disco with funk to create this distinct music genre. For the first time in the UK, a dedicated exhibition will chart a timeline of ‘Detroit Techno music’ from its 1970s origins, continuing through to the early 1990s. The genre’s origins begin in the disco parties of Ken Collier with influence from local radio stations and DJs, such as Electrifying Mojo and The Wizard (aka Jeff Mills). The ICA’s exhibition explores how a generation was inspired to create a new kind of electronic music that was evidenced in the formative UK compilation: Techno! The New Dance Sound of Detroit. Using inexpensive analogue technology, such as the Roland TR 808 and 909, DJs and producers including Juan Atkins, Blake Baxter, Eddie Fowlkes, Derrick May, and Kevin Saunderson, formed this seminal music genre. Although the music failed to gain mainstream audiences in the U.S, it became a phenomenon in Europe. This success established Detroit Techno, as a new strand of music which absorbed exterior European tastes and influences. This introduced a second wave of DJs and producers to the sound including Carl Craig, Richie Hawtin and Kenny Larkin.
[Show full text]
House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines.
[Show full text]
Detroit : Techno
Until recently, Detroit has not had much attention at all con cerning its role as the birthplace of techno. "Detroit, globally known as the birthplace of techno, is virtually unrecognized nationally and locally beyond its Motown and rock roots". It DETROIT: TECHNO has always existed as such under the popular culture radar. First and foremost, why was Detroit the breeding ground for techno music? Why has the general population taken so long in recognizing Detroit for its techno accomplishments? Could it be simply because Detroit is not a mega-city like New York or Los Angeles? Or is it simply because the time and the place ]ohnathan Bowen were not right until recently? The Belleville 3: Juan Atkins, Derrick May, and Kevin Detroit has long been known by many names: Motown, the Saunderson, arc the three individuals who are credited as Motor City, Hockey Town, and even the less than flattering techno's creators. These three individuals grew up in Murder City. However, with the passing of time and the dim Belleville, hence the term "The Belleville 3," but they later ming and brightening of trends, Detroit would come to be moved into Detroit to carry on their pioneering work in the known by another name: TechnoTown. \Vhat is techno? Upon 1980's and beyond. Atkins, May, and Saunderson didn't actu opening an Encyclopedia Britannica and looking under the ally begin this pioneering work of creating techno in Detroit entry labeled "Techno," one will find this encompassing and however. Juan Atkins sums it up best: "vVhen I first started revealing definition: making music, I lived in Detroit.
[Show full text]
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music.
[Show full text]
ENJOY RIGHT NOW Het Spanningsveld Tussen Nieuwe Media En De Kernwaarden Van Clubcultuur
ENJOY RIGHT NOW Het spanningsveld tussen nieuwe media en de kernwaarden van clubcultuur Beau Louisse 7 april 2015 Master Kunst- & cultuurwetenschappen Radboud Universiteit Nijmegen Abstract Enjoy Right Now. The field of tension between new media and the core values of club culture. Recently more and more clubs started to ban smartphones and cameras from their dancefloors. The club scene is divided in two sides: one that happily uses club photography and aftermovies as marketing for their events and another that wishes to ban all wearable technology. That gave rise to the suspicion that new media clash with elements of the clubbing ideology. This study therefore examines how new media create a field of tension between the core values of club culture and the practice on the dancefloor. It analyses how core values such as freedom, escapism, collectivity, and hedonism fit within the media saturated club environment and how new media influence the functioning of club culture. Finally, there will be explored how new technologies have possibly influenced the core values of club culture. The research focuses on clubs and festivals in the Benelux and Germany (Berlin) between 2010 and 2014. The new media that are being examined are mainly smartphones, digital cameras, social media and websites. Statements made in the media by clubbing insiders such as clubbers, organizers, dj’s, and other club culture affiliates are analyzed in order to map out how new media are being used in club culture and also how they affect the dance scene. Editorials by websites on electronic music and dance culture make up another important part of the primary sources.
[Show full text]
Tone Glow, June 2020
018: DeForrest Brown, Jr. toneglow.substack.com/p/018-deforrest-brown-jr An interview with DeForrest Brown, Jr. + an accompanying mix, album downloads, and our writers panel on Nídia's 'Não Fales Nela Que A Mentes' and Arca's 'KiCK i' Jun 17, 2020 DeForrest Brown, Jr. DeForrest Brown, Jr. is a New York-based theorist, journalist, curator, and artist. He’s created work under his own name and as Speaker Music, and is a representative of the Make Techno Black Again campaign. His writings have appeared in Tiny Mix Tapes, Afropunk, Artforum and Hyperallergic. His upcoming book, Assembling a Black Counter Culture, is out this year on Primary Information. Joshua Minsoo Kim talked with Brown, Jr. on May 28th about his new albums and book, COVID-19, George Floyd, techno, and empathy. Photos by Ting Ding. 1/21 Joshua Minsoo Kim: Hello, hello. DeForrest Brown, Jr.: Hey, how’s it going? Good, how are you? I’m all right… you know? Just all right? Yeah, it’s just one of those things… You know, the news. Hold on, I’m moving a big ass bean bag chair. (moves chair). I’ve been working on the book, but the book is kind of forming in my life right now, I guess. What do you mean by that? So my book, Assembling a Black Counter Culture, it starts at the gold rush and I’m trying to tell the history of America through techno and the Industrial Revolution, tying it all together. Between George Floyd and these protests and the economic collapse, it’s kind of a weird thing to see the end of the book.
[Show full text]
Tell Carl Craig Techno Isn't About Raw Fucking Attitude and He'll Tell You to Shut up and Listen
104 TELLdetroit CARLrising carl craig CRAIG TECHNO ISN’T ABOUT RAW FUCKING ATTITUDE AND HE’LL TELL YOU TO SHUT UP AND LISTEN. interview TEMPE NAKISKA The game-changing second generation Detroit producer is one the most influential names in techno and a fierce advocate for his city, from his essential role in founding the Detroit Electronic Music Festival to his latest project, Detroit Love, a touring DJ collective of some of the biggest talents in the field, old school to new. Craig grew up absorbing the odyssey of sounds that formed legendary UK. There he got acquainted with the industrial sonic experiments radio DJ The Electrifying Mojo’s show from 1977 to the mid-80s. of Throbbing Gristle and UK rave music’s singular take on the From Jimi Hendrix to floppy haired soft rocker Peter Frampton, breakbeat – a clinical, on-edge combustion that would heavily Depeche Mode synth pop to Talking Heads new wave, and ruthless influence Craig’s own sound. Returning to the US he started his dancefloor belters from Parliament, Prince and Funkadelic, Mojo own label, Planet E, and unleashed himself on the world. Drawing scratched out notions of genre or ‘black’ and ‘white’ music to serve from jazz, hip hop and world music, he violently shook up what his up pure soul. forebears had started. You want techno? Hear this. Attending his earliest gigs underage, Craig helped his cousin 2016 marks 25 years of Planet E, through which Craig has on lights. It was there, deep in Detroit’s 80s underground, that he cruised to the earth-ends of his influences, via aliases including first-hand witnessed the music of the Belleville Three.
[Show full text]
Detroit Version US
Extract From GLOBAL TEKNO 1.0 Jean-Yves Leloup, Jean-Philippe Renoult, Pierre Emanuel Rastoin (US-English translation by Black Sifichi) Detroit, summer 1998 by Jean-Philippe Renoult There are no charter planes to Detroit and certainly no direct flight from Paris. When we give our destination to the customs officer who carries out the usual formalities at the stop over in Philadelphia, he bursts out laughing: - What, why the hell are you going to Detroit? - Well... to take landscape pictures. - Good luck, you will need it! It’s a fact, Detroit Michigan is not listed in the tour operators schedule but it is certainly present on the world map of contemporary electronic music. In the uncomfortable plane, which finally takes us there, we go over and over the story which ravers and techno heads repeat like a founding myth. After Kraftwerk, who blended with one unique rhythm Stockhausen and Pop music, followed a black trinity who gave birth to the sound of techno. It developed here, on the polluted edges of Lake Huron. The three founders are Juan Atkins, Derrick May, Kevin Saunderson. All three, born respectively in 1962, 1963 and 1964, instilled a black, funky and sensual groove into one of the first purely technological dance music. An essential mutation, which Derrick May sums up in a quote, which has remained well-known: « Our music is the meeting in one and the same elevator of George Clinton and Kraftwerk. It is the mirror image of Detroit: a complete error. » Of all our destinations, Detroit was the most anachronistic but also the most fundamental.
[Show full text]
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H.
[Show full text]
Sweet Beats and Christmas Cheer: December New Album Reviews
Sweet Beats And Christmas Cheer: December New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world With the temperature getting colder and snow in the air, what is better than gathering the family around the fire and listening to some tunes? Dad wants the Beatles, Mum Take That, while the kids demand One Direction and Thirty Seconds To Mars. But what you need is something all the family can enjoy! By JOHN BITTLES Luckily this December brings a stream of releases that could even put a smile on Granny’s grouchy old face. We have the alien art-house visions of Arca, the sub-aquatic warmth of Deepchord, the slacker rock stirrings of Cass McCombs, the stoned shoegaze of The Telescopes, the funk-strewn acid of Paranoid London and lots more. So, start warming those chestnuts, turn all iPhones and tablets off, and let us begin… This month we’ll start by entering Venezuelan artist Arca’s strange, electronic world. While last year’s debut full-length Xen was something of a disappointment, expectations have still been sky-high for the follow-up from the moment it was announced. His previous work with the likes of Bjork and FKA twigs highlighted how Arca was a single-minded entity whose unique mindset and vision marked him out as someone who could take music to places it had never been. At times angry and punishing, at others soft and tranquil, Mutant may be far from an easy listen, yet it is a thrilling one all the same.
[Show full text]
Detroit DJ Seth Troxler Is Beatport's Artist in Residency
For Immediate Release DETROIT DJ SETH TROXLER IS BEATPORT’S ARTIST IN RESIDENCY FOR BLACK HISTORY MONTH, CURATING AN INCOMPARABLE LINEUP OF INFLUENTIAL DJs FOR FEBRUARY ON TWITCH Beatport’s Black History Month celebration kicks off with an introductory conversation on Monday, February 8th between Troxler and Dr. Cornel West, discussing the origination of house and techno by African American creators. BERLIN, DE - February 3rd, 2021 - Beatport, the world's number one destination for electronic music, announced today, Detroit DJ and artist, Seth Troxler, will be their February Artist in Residency on Twitch in honor of Black History Month. The four-week series kicks off on Monday, February 8th at 6am PST / 3pm CET with a conversation between Seth Troxler and American philosopher, political activist, social critic, author, and intellectual, Dr. Cornel West, discussing the African American origins of house and techno. Over the course of the month, Seth Troxler will showcase a world renowned lineup of guests that are iconic legends who have shaped dance music history, combined with the next generation of talent, all who have influenced him over the years. Prior to each session, there will be introduction discussions where Seth Troxler and guests will go back to the history and roots of techno and house music, followed by DJ sets from pioneers and legends Tony Humphries, Ron Trent, Stacey Hotwaxx Hale, Paul Johnson, as well as rising artists, Channel Tres, DJ Holographic and many more. Seth Troxler commented, “When Beatport approached me to host a month of streams during Black History Month, I was truly honored.
[Show full text]