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Pick You Up - Ed The Red - Electronica Vol. 1 (CD)

It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline. Byhouse music had exploded in the UK, and acid house was increasingly popular. Inthe music played at warehouse parties was predominantly house. Both night spots quickly became synonymous with acid house, and it was during this period that the use of MDMAas a party drug, started to gain prominence.

Acid house party fever escalated in London and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A. To escape the attention of the press and the authorities, this after-hours activity quickly went underground. Within a year, however, up to 10, people at a time were attending the first commercially organized mass parties, called ravesand a media storm ensued. 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 London clubs catching up later; [63] but init was "Strings of Life" which eased London club-goers into acceptance of house, according to DJ Mark Moore.

The mid UK release of Techno! Derrick May views this as one of his busiest times and recalls that it was a period where he. Commercially, the release did not fare as well and failed to recoupbut Inner City's production " Big Fun "a track that was almost not included on the compilation, became a crossover hit in fall But, when the group were on the verge of finalising their contract, May allegedly refused to agree to Top of the Pops appearances and negotiations collapsed.

Despite Virgin Records ' disappointment with the poor sales of Rushton's compilation, [74] the record was successful in establishing an identity for techno and was instrumental in creating a platform in Europe for both the music and its producers. In Pick You Up - Ed The Red - Electronica Vol. 1 (CD), developments in the Detroit scene led to the opening of a nightclub called the Music Institute MIlocated at Broadway in downtown Detroit. The club closed on November 24,with Derrick May playing "Strings of Life" along with a recording of clock tower bells.

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 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.

Inspired by Talla's music selection, in the early 80s several young artists from Frankfurt started to experiment on cassette tapes with electronic music coming from the City Music record store, mixing the latest catalogue with additional electronic sounds and pitched BPM. This became known as the Frankfurt tape scene. While this early work was strongly characterized as experimental electronic music fused with strong EBM, krautrocksynthpop and technopop influences, the later work during the mid and late 80's clearly transitioned to a clear techno sound.

Germany's engagement with American underground dance music during the s paralleled that in the UK. By a German party scene based around the Chicago sound was well established. The following year saw acid house making as significant an impact on popular consciousness in Germany as it had in England. Motte established the Ufo cluban illegal party venue, and co-founded the Love Parade. In a number of party venues closed, including Ufoand the Berlin Techno scene centered itself around three locations close to the foundations of the Berlin Wall: PlanetE-Werk[86] Bunkerand the long-lived Tresor.

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. Inafter 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.

He performed center 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. Other notable underground parties were those run by Force Inc. They initially played a mix of different styles including Belgian new beatDeep HouseChicago 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.

In 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 SpiritDJ Westbam, Marushaand a music channel called VIVA. In Germany, fans started to refer to the harder techno sound emerging in the early s as Tekkno or Brett.

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.

The Berlin scene offered an alternative and many began embracing an imported sound that was being referred to as Techno-House. 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 epitomized "being against something," but of acid house he said, "it's electronic, it's fun it's nice.

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. As the techno sound evolved in the late s and early s, 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 [93] to the distinctly anti-commercial sentiments [94] of Underground Resistance. Derrick May's experimentation on works such as Beyond the Dance and The Beginning were credited with taking techno "in dozens of new directions at once and having the kind of expansive impact John Coltrane had on Jazz".

The growth of techno's popularity in Europe between and was largely due to the emergence of the rave scene and a thriving club culture. Producers from Detroit, frustrated by the lack of opportunity in their home country, looked to Europe for their future livelihood. Developments in American-produced techno between and fueled the expansion and eventual divergence of techno in Europe, particularly in Germany. 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.

Although eclipsed by Germany, Belgium was another focus of second-wave techno in this time period. Bollandreleasing "tough, metallic tracks In the United Kingdom, Sub Club opening in Glasgow in and Trade which opened its doors to Londoners in were pioneering venues which helped bring techno into the country.

Both clubs were praised for their late opening hours and party-focused clientele. Trade has often been referred to as the 'original all night bender'. 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 s Eurodisco synthpop sound. 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 minimalismin the artistic sense of the word, too "arty". 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". I think Dan [Bell] and I both realized that something was missing — an element 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.

Some techno has also been influenced by or directly infused with elements of jazz. In UK music journalist Matthew Collin wrote that "Europe may have the scene and the energy, but it's America which supplies the ideological direction Detroit techno had maintained its integrity throughout the rave era and was pushing a new generation of so-called intelligent techno producers forward. Simon Reynolds suggests 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.

The term intelligent techno was used to differentiate more sophisticated versions of underground techno [] from rave-oriented styles such as breakbeat hardcoreSchranz, Dutch Gabber. Warp Records was among the first to capitalize upon this development with the release of the compilation album Artificial Intelligence [] Of this time, Warp founder and managing director Steve Beckett said.

The sound fed the scene. Warp had originally marketed Artificial Intelligence using the description electronic listening music but this was quickly replaced by intelligent techno.

In the same period —93 other names were also bandied about such as armchair techno, ambient technoand electronica[] but all referred to an emerging form of post-rave dance music for the "sedentary and stay at home".

Although it is primarily Warp that has been credited with ushering the commercial growth of IDM and electronica, in the early s there were many notable labels associated with the initial intelligence trend that received little, if any, wider attention.

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.

The high point of this free party period came in May when with less than 24 hours notice and little publicity more than 35, gathered at the Castlemorton Common Festival for 5 days of partying. This one event was largely responsible for the introduction in of the Criminal Justice and Public Order Act ; [] effectively leaving the British free party scene for dead.

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.

By there were a number of techno producers in the UK and Europe building on the Detroit sound, but a number of other underground dance music 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 that sounded far-removed from techno. For instance jungle drum and bass demonstrated influences ranging from hip-hopsoul, and reggae to techno and house.

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 tranceindustrial technobreakbeat hardcoreacid technoand 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 and According to Muzik magazine, by 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. With techno reaching a state of "creative palsy," and with a disproportionate number of underground dance music enthusiasts more interested in the sounds of rave and jungle, in 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 altar of American techno with a total unwillingness to compromise. By the end of the s, a number of post-techno [] underground styles had emerged, including ghettotech a style that combines some of the aesthetics of techno with hip-hop and house musicnortecglitchdigital hardcorethe so-called no-beat techno[] and electroclash. 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. 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.

Elliott's album Miss E So Addictive also clearly demonstrated the influence of techno inspired club culture. In recent years, the publication of relatively accurate histories by authors Simon Reynolds Generation Ecstasyalso known as Energy Flash and Dan Sicko Techno Rebelsplus mainstream press coverage of the Detroit Electronic Music Festivalhave helped to diffuse the genre's more dubious mythology.

It became natural for us to incorporate Detroit techno into our commercials after we discovered that young people are embracing techno. When Kraftwerk first toured Japan, their music was described as "technopop" by the Japanese press. When Yellow Magic Orchestra toured the United States inthey described their own music as technopop, and were written up in Rolling Stone Magazine. It just so happened that Detroit was there when people really got into it.

The popularity of Euro disco and Italo disco —referred to as progressive in Detroit—and new romantic synthpop in the Detroit high school party scene from which techno emerged [] has prompted a number of commentators to try to 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.

Another example is a record entitled Love in C minorreleased in 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 underground dance music styles flowed.

AroundSheffield band Cabaret Voltaire began including funk and electronic dance music elements into their sound, and in later years, would come to be described as techno.

Nitzer Ebb was an Essex band formed inwhich also showed funk and electronic dance music influence on their sound around this time. Certain electro- disco and European synthpop 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 Scottwhose "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. Commenting on the tape, Paul Hartnollof the dance group Orbitaldescribed the example as "quite amazing," noting that it sounded not unlike something that "could be coming out next Pick You Up - Ed The Red - Electronica Vol.

1 (CD) on Warp Records. 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 setwherein the DJ progresses from one record to the next via a synchronized segue or "mix. Unlike other forms of electronic dance music that tend to be produced with synthesizer keyboardstechno does not always strictly adhere to the harmonic practice of Western music and such strictures are often ignored in favor of timbral manipulation alone.

This is essentially a drum pattern popularized by disco or even polka and is common throughout house and trance music as well.

The tempo tends to vary between approximately bpm quarter note equals pulses per minute and bpm, depending on the style of techno. Some of the drum programming employed in the original Detroit-based techno made use of syncopation and polyrhythmyet 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 feels like you're in some sort of hi-tech village.

There are many ways to create techno, but the majority will depend upon the use of loop-based step sequencing as a compositional method. Techno musicians, or producersrather than employing traditional compositional techniquesmay work in an improvisatory fashion, [] 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 many different sounds and effects. Studio production equipment is generally synchronized using a hardware- or computer-based MIDI sequencerenabling the producer to combine in one arrangement the sequenced output of many devices.

A typical approach to using 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. Once a single loop-based arrangement has been generated, a producer may then focus on developing 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 mixersequencer, effects, dynamic processing Pick You Up - Ed The Red - Electronica Vol. 1 (CD), equalizationand 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 Autechrewhere aspects of algorithmic composition are employed in the generation of material.

The TR and TR drum machines have since achieved legendary status, a fact that is now reflected in the prices sought for used devices. During the s, the became the staple beat machine in Hip hop production while the found its home in House music and techno. It was "the pioneers of Detroit techno [who] were making the the rhythmic basis of their sound, and setting the stage for the rise of Roland's vintage Rhythm Composer. 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.

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