Re: (313) new records
on the detroit garage/house tip: dj genesis/omar s 'tribute to betty' is a fine release. james www.jbucknell.com [EMAIL PROTECTED] com To 06/09/04 11:45 AM 313@hyperreal.org cc Subject (313) new records So, It's still months since I bought a new record (literally). Whats good? any opinions on any of the following? New Neroli (Domu?) New Ignitor New Juan on Metroplex what else is new/hot? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring ForwardSourceID:NT00012946
(313) [SPAM] Liverpool - Tfunkshun, 17/9/04
Not sure if Scott's still about these parts, so I'll toot my own horn. If any of the northern crew fancy saying hello, you can find me playing here: T-FUNKSHUN FRIDAY 17TH SEPTEMBER @ MAGNET, Hardman St 9-2am £4/£5 along with residents: SCOTT NOCTURNE DAVID LAWTON MARK FORSHAW BEN DEVEREUX Hope to see some new and old faces. It's my first gig in the North so I'm pretty excited about it! Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
RE: (313) Todd Terry Sample
The answer is: Babe Ruth-The Mexican (1972) And this snippet is from her discogs page: A more complete history of The Mexican would be as follows... In 1965 Ennio Morricone wrote the theme music to the Sergio Leone movie 'For a Few Dollars More' featuring a distinctive whistled tune. Babe Ruth took this and used it as one of the guitar riffs on The Mexican in 1972. This song was then covered by The Bombers in 1978 and again in 1984 by John Jellybean Benitez, the latter version featuring drum machine percussion and the Babe Ruth lyrics resung by the original vocalist, Janita Haan. Finally Todd Terry took the Morricone bit (turning it into a wicked enchanting synth riff) and kept a single line of vocals which became the title of his 1988 house classic Dreams of Santa Anna and he also used the same elements on a track called The Texican, both recorded under his Orange Lemon pseudonym. Dreams of Santa Anna is one of my favourite early house tunes and it still gets a great crowd response in the London old skool house scene. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 06 September 2004 15:55 To: 313@hyperreal.org Subject: (313) Todd Terry Sample Does anyone know what Todd Terry sampled for that Oranges Lemons thing Dreams of Santa Ana? Sounds familiar, can't place it though. Bet the original track is hot. Thanks Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) [SPAM] Liverpool - Tfunkshun, 17/9/04
Hey Hey. Nice one Tristan, I will try to make it along! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Todd Terry Sample
Rob. Thank you very very much for that, not only the answer, but the story too. Does anyone know these tracks? his song was then covered by The Bombers in 1978 and again in 1984 by John Jellybean Benitez, the latter version featuring drum machine I have 1 (maybe 2?) Bombers records, but don't think I have this. The Jellybean version sounds interesting. Thanks again! Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
(313) Detroit Techno
I was thinking. clickwhirrpop Yesterday, Matt said this: the one thing you WON'T hear these guys play is hard techno. So if that's your main interest, (as i realize it is of plenty on this list... at least historically), you should probably seek it elsewhere ;) This is the detroit techno list right? It suddenly occured to me that what I call Detroit Techno may be a bit different to what other people think. When someone says to you Detroit Techno, what do you immediately think of? a) the hard industrial vibe hard music for a hard city? or b) the melodic mid-tempo beats of say, World to World, or Never On Sunday or something. Just wondering like.. I'm quite interested in what you think. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
Both - does there have to be only one sound? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 09:50 To: 313@hyperreal.org Subject: (313) Detroit Techno I was thinking. clickwhirrpop Yesterday, Matt said this: the one thing you WON'T hear these guys play is hard techno. So if that's your main interest, (as i realize it is of plenty on this list... at least historically), you should probably seek it elsewhere ;) This is the detroit techno list right? It suddenly occured to me that what I call Detroit Techno may be a bit different to what other people think. When someone says to you Detroit Techno, what do you immediately think of? a) the hard industrial vibe hard music for a hard city? or b) the melodic mid-tempo beats of say, World to World, or Never On Sunday or something. Just wondering like.. I'm quite interested in what you think. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
Both - does there have to be only one sound? No, not at all. I was just wondering if people thought one way or the other. Like, for example, I often forget about the harder stuff, when I imagine that some people actually from the city identify more with that sound and probably think of that as detroit techno. Where as I don't, and Iwould imagine I'm wrong, just wondered if I was in the minority or not... _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno
I was thinking about this the other night and it often shifts in my mind but I'd say: Detroit: a) Strings b) Melody c) Funk d) Jacked e) Kick These are not in any order but I'd say the strongest one for Detroit is the strings, that's how a lot of people define it. I like all flavours but sometimes see little point in just copying...For me techno isn't about just joining the dots. Cheers Martin of? a) the hard industrial vibe hard music for a hard city? or b) the melodic mid-tempo beats of say, World to World, or Never On Sunday or something. Just wondering like.. I'm quite interested in what you think.
RE: (313) Detroit Techno
It's interesting to see what people in Detroit might regard as 'Detroit Techno' isn't it? One problem is that as far as I can understand, the time, in Detroit, when masses of clubbers (of a broad age range, perhaps) go out to clubs and listen to 'techno' of any variety, appears to have passed. FOr club music, house and of course hip-hop rules at the moment, I think it's safe to say. This is just what I hear. But, I'm told, there was never a time when the more 'breakbeat' stuff - basically this is 'electro', but not exclusively so - was *not* more popular than 'techno'. Even more blurring the edges of this, is that there was and still is to an extent a tendency for many in Detroit to call what we call electro, techno as well! :-) (Please remember that all my impressions are second-hand. I haven't been out in Detroit in over a decade.) People I would humbly request to pipe-up on this topic are Ian Cheshire, and Greg Earle :-) Peace, Ken -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 10:02 AM To: 313@hyperreal.org Subject: RE: (313) Detroit Techno Both - does there have to be only one sound? No, not at all. I was just wondering if people thought one way or the other. Like, for example, I often forget about the harder stuff, when I imagine that some people actually from the city identify more with that sound and probably think of that as detroit techno. Where as I don't, and Iwould imagine I'm wrong, just wondered if I was in the minority or not... _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
With Alex on this. I always think melody, strings and nice padwerk for Det Tec. Almost all of my listening is at home and I find it hard to listening hard industrail stuff on a home rig - albeit thro some huge Mission speakers. Maybe it's age. Rav -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:02 To: 313@hyperreal.org Subject: RE: (313) Detroit Techno Both - does there have to be only one sound? No, not at all. I was just wondering if people thought one way or the other. Like, for example, I often forget about the harder stuff, when I imagine that some people actually from the city identify more with that sound and probably think of that as detroit techno. Where as I don't, and Iwould imagine I'm wrong, just wondered if I was in the minority or not... _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 09:50 When someone says to you Detroit Techno, what do you immediately think of? a) the hard industrial vibe hard music for a hard city? or b) the melodic mid-tempo beats of say, World to World, or Never On Sunday or something. I tend to think of the whole shebang, that whole spectrum of music ranging from something like Kaotic Harmony or Icon all the way over to the Tranquiliser EP or Seawolf. But I'd probably also say that there's something like a median Detroit Techno sound, halfway in between the two edges of the spectrum, that's probably exemplified by things like the fourth Red Planet EP and tracks like The Art Of Stalking. Brendan
Re: RE: (313) Todd Terry Sample
The Babe Ruth version is the famous one in terms of hip hop production. Don't actually like the tune as a whole, but it's a massively popular (and pretty heavy) break that's been used on absolutely loads of tracks. Not too hard to track down the original (despite what people might tell you) + there is an Alpha Omega 12 boot that's been around for a few years as well (I think it has 'Theme from S.W.A.T.' or 'Long Red' on the other side). The Bombers version is less interesting than the Babe Ruth version, break-wise. However, its overall production is more pleasing to my ear. Haven't heard the Jellybean cut. You wrote: Rob. Thank you very very much for that, not only the answer, but the story too. Does anyone know these tracks? his song was then covered by The Bombers in 1978 and again in 1984 by John Jellybean Benitez, the latter version featuring drum machine I have 1 (maybe 2?) Bombers records, but don't think I have this. The Jellybean version sounds interesting. Thanks again! Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno
Martin Dit often shifts in my mind Yeah, me too. and I see you think of it differently as well. e.g. your first answer strings as opposed to say, the punisher KenIt's interesting to see what people in Detroit might regard as 'Detroit Techno' isn't it? yeah I reckon it is Ken. I reckon I benefit alot out of this list, I find it really interesting how people from different places percieve different things. Like say, do peeps in detroit consider that fast booty sound as detroit techno? BrendanI tend to think of the whole shebang, clever clogs! thats typical! No, I guess this is the correct way of thinking about it (or is there a correct way?) but for some reason, I don't think of it like that. Should be interesting when some of our comrades from across the pond drag their lazy labour day asses out of bed. ; ) btw, I don't know where this discussion is going, or the use of it. But my boss ain't in. oh and I have a Q for Greg Earle as well. Have you lived in San Fran all your life? Do you know an old band (punk/wave? - dunno what you'd call 'em).. THE UNITS. If you can remember them, I really want to try and get hold of someone who might know them, would be really grateful. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
For me - 'it is what it is' encapsulates everything about Detroit techno that I love it's the 1st thing I play when trying to describe techno to someone p -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:34 To: 313@hyperreal.org Subject: Re: (313) Detroit Techno Martin Dit often shifts in my mind Yeah, me too. and I see you think of it differently as well. e.g. your first answer strings as opposed to say, the punisher KenIt's interesting to see what people in Detroit might regard as 'Detroit Techno' isn't it? yeah I reckon it is Ken. I reckon I benefit alot out of this list, I find it really interesting how people from different places percieve different things. Like say, do peeps in detroit consider that fast booty sound as detroit techno? BrendanI tend to think of the whole shebang, clever clogs! thats typical! No, I guess this is the correct way of thinking about it (or is there a correct way?) but for some reason, I don't think of it like that. Should be interesting when some of our comrades from across the pond drag their lazy labour day asses out of bed. ; ) btw, I don't know where this discussion is going, or the use of it. But my boss ain't in. oh and I have a Q for Greg Earle as well. Have you lived in San Fran all your life? Do you know an old band (punk/wave? - dunno what you'd call 'em).. THE UNITS. If you can remember them, I really want to try and get hold of someone who might know them, would be really grateful. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
That's odd, that was one of the tracks I was going to suggest as being a piece of dead centre Detroit techno. But having already mentioned Kaotic Harmony and Icon I figured that there was a bit too much Derrick May content in my email already :) When I first heard It Is What It Is I was already familiar with the concept of Detroit techno, and with much of the actual music as well. But the music had never matched so perfectly with the concept - if that makes sense - as when I first heard that track. Also, when it was on the Channel 4 documentary, playing over shots of May wandering around a deserted industrial estate and that circuit-board-as-city video, I just thought yep, this pretty much sums it up... It combines the melodic sensibilities of Detroit techno with its dancefloor aspects so effectively - hard to think of any other tracks that do that so well. Brendan -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:39 To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Detroit Techno For me - 'it is what it is' encapsulates everything about Detroit techno that I love it's the 1st thing I play when trying to describe techno to someone p -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:34 To: 313@hyperreal.org Subject: Re: (313) Detroit Techno Martin Dit often shifts in my mind Yeah, me too. and I see you think of it differently as well. e.g. your first answer strings as opposed to say, the punisher KenIt's interesting to see what people in Detroit might regard as 'Detroit Techno' isn't it? yeah I reckon it is Ken. I reckon I benefit alot out of this list, I find it really interesting how people from different places percieve different things. Like say, do peeps in detroit consider that fast booty sound as detroit techno? BrendanI tend to think of the whole shebang, clever clogs! thats typical! No, I guess this is the correct way of thinking about it (or is there a correct way?) but for some reason, I don't think of it like that. Should be interesting when some of our comrades from across the pond drag their lazy labour day asses out of bed. ; ) btw, I don't know where this discussion is going, or the use of it. But my boss ain't in. oh and I have a Q for Greg Earle as well. Have you lived in San Fran all your life? Do you know an old band (punk/wave? - dunno what you'd call 'em).. THE UNITS. If you can remember them, I really want to try and get hold of someone who might know them, would be really grateful. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
Rare Piece Man Extroadinaire SaidFor me - 'it is what it is' encapsulates everything about Detroit techno that I love it's the 1st thing I play when trying to describe techno to someone Yep, I get you. So, I might do a similar thing, for them to turn round and say nah, THIS is detroit techno and whack on the RIOT ep. and they wouldn't exactly be wrong either. I have no idea what point I am trying to make. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Re: new records
Mintoresident 313 heckler ;) Damn it. I've tried to come up with a good heckle for you. But, I failed. My 24 hr career as 313's heckler has ended. Thanks for the tip Minto, gonna track that record down to check. p.s. package for you and JT leaving today : ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:45 Rare Piece Man Extroadinaire SaidFor me - 'it is what it is' encapsulates everything about Detroit techno that I love Yep, I get you. So, I might do a similar thing, for them to turn round and say nah, THIS is detroit techno and whack on the RIOT ep. But if you then took 100 Detroit techno records at random, and listened to them, the overall balance of styles would eventually suggest that RIOT was a bit nearer the edge, a bit of an anomaly, while It Is What It Is was nearer the centre. And the more records you randomly picked out to play, the more obvious that would become, I reckon! Brendan
Re: (313) Detroit Techno
Martin Dit often shifts in my mind Yeah, me too. and I see you think of it differently as well. e.g. your first answer strings as opposed to say, the punisher I just have my Northern Soul and Motown days as well, so Detroit has always been about the sweet strings in one way or another but as you know I've always loved pure noise as well. Guess I'm just weird :)
Re: (313) Detroit Techno
But if you then took 100 Detroit techno records at random, and listened to them, the overall balance of styles would eventually suggest that RIOT was a bit nearer the edge, a bit of an anomaly, while It Is What It Is was nearer the centre. And the more records you randomly picked out to play, the more obvious that would become, I reckon! I'd agree, some one asked me recent for an example, I told them to buy Los Hermanos 'Quetzal' - for me that's the bullseye. Martin
RE: (313) Detroit Techno
Resident Techno Philosopher Brendan wroteBut if you then took 100 Detroit techno records at random, and listened to them, the overall balance of styles would eventually suggest that RIOT was a bit nearer the edge, a bit of an anomaly, while It Is What It Is was nearer the centre. And the more records you randomly picked out to play, the more obvious that would become, I reckon! aha, I get you now. don't worry, I'm a little slow, you kinda have to hammer the point home a little with me! btw Brendan, you crack me up, you're our very own 313 professor of techno I say. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno
Los Hermanos 'Quetzal' - for me that's the bullseye. and I'd argue that that record is pretty average. ha ha ha ha ha, lets argue all day, it's fun. : ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno
Well, I'd ask you to be objective rather than subjective ;) I love that track... Martin On 7 Sep 2004, at 10:56, [EMAIL PROTECTED] wrote: Los Hermanos 'Quetzal' - for me that's the bullseye. and I'd argue that that record is pretty average. ha ha ha ha ha, lets argue all day, it's fun.
Re: (313) Detroit Techno
Hmm. Maybe my point was, are we in the wrong place to talk about that more melodic stuff, and the influences for it? Like, for example, I could talk about wierd electronic disco pieces that inspired detroit techno all day long, but, does that get on most peoples nerves? i.e. are most of the list here to find out about current stuff, or hard stuff, or are you open to whatever and not too bothered either way? I think this was my point I suppose. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
-Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 11:05 [Quetzal] Well, I'd ask you to be objective rather than subjective ;) I love that track... I'd agree that Quetzal is also pretty near the bullseye, but would probably say that Birth Of 3000 is even more so. But maybe that's just me being subjective, as I prefer the latter to the former (but only just :) Brendan
Re: (313) Detroit Techno
If I want to convey what Detroit techno is to someone I just lend them Derick May's Innovator album. For me, that was the sound in its purest, most isolated state. - Original Message - From: [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, September 07, 2004 11:12 AM Subject: Re: (313) Detroit Techno Hmm. Maybe my point was, are we in the wrong place to talk about that more melodic stuff, and the influences for it? Like, for example, I could talk about wierd electronic disco pieces that inspired detroit techno all day long, but, does that get on most peoples nerves? i.e. are most of the list here to find out about current stuff, or hard stuff, or are you open to whatever and not too bothered either way? I think this was my point I suppose. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno
[Quetzal] Well, I'd ask you to be objective rather than subjective ;) I love that track... I'd agree that Quetzal is also pretty near the bullseye, but would probably say that Birth Of 3000 is even more so. But maybe that's just me being subjective, as I prefer the latter to the former (but only just :) Very true Brendan, I just love the sweet strings on Quetzal - 3000 is also up there for me - always in the rack ready to be played - in fact I usual start with one or the other of these on a Sunday morning, then some Electrofunk stuff - great way to start the most boring day of the week I find.
Re: (313) Detroit Techno
I personally am open to whatever - I think one of the things which makes Detroit techno so powerful is this sheer depth, range and quality of its influences - I find it pretty sad when people start policing what can and cannot be discussed with relation to the music we all love.The sound influenced by Detroit is certainly my first love, but I am also passionate about all music that matches that level of quality - I think that musical purism is just about the most pathetic trait to be found amongst people in the scene (though that's a WHOLE different rant!!) For my part though, the mention of 'Detroit Techno' always makes me think of the richer, funkier and melodic side of things - tracks like Amazon and Final Frontier are the first in my thoughts. The likes of Mills and Hood wouldn't spring to mind at all, although I do love their earlier material and they are obviously just as much a part of Detroit's history... - Original Message - From: [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, September 07, 2004 11:12 AM Subject: Re: (313) Detroit Techno Hmm. Maybe my point was, are we in the wrong place to talk about that more melodic stuff, and the influences for it? Like, for example, I could talk about wierd electronic disco pieces that inspired detroit techno all day long, but, does that get on most peoples nerves? i.e. are most of the list here to find out about current stuff, or hard stuff, or are you open to whatever and not too bothered either way? I think this was my point I suppose. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
Perfectly justified in sticking on the punisher .but the punisher et al. were 2nd wave Detroit technoat that time there was a lot of german and Belgian stuff flying around that also had that hard dark edge.. At the time of transmat, metroplex, express, incognito there was nothing else like it p -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:45 To: 313@hyperreal.org Subject: RE: (313) Detroit Techno Rare Piece Man Extroadinaire SaidFor me - 'it is what it is' encapsulates everything about Detroit techno that I love it's the 1st thing I play when trying to describe techno to someone Yep, I get you. So, I might do a similar thing, for them to turn round and say nah, THIS is detroit techno and whack on the RIOT ep. and they wouldn't exactly be wrong either. I have no idea what point I am trying to make. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
-Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:56 To: Brendan Nelson Cc: 313@hyperreal.org Subject: Re: (313) Detroit Techno I'd agree, some one asked me recent for an example, I told them to buy Los Hermanos 'Quetzal' - for me that's the bullseye. Well for arguments sake, I disagree.. 'it is what it is' does the job perfectly.. and no we cant have 2 records doing the same job !
RE: (313) Detroit Techno
I remember when I first came across that Flash guide to electronic music that was put together by a bloke called Ashok or something, which attempted to sum up Detroit techno with an audio snippet of Hood's Pole Position and a spiel about how Detroit techno is supposed to make you feel quite disoriented and lost. Of course, that *totally* missed the point, and I remember he was getting so many emails from people on 313 that he even put up a little notice saying if you're on the 313 list, don't email me OK!?... However, I do think that Hood and Mills count as Detroit techno (obviously!) even though they're not what might be called mainstream Detroit techno. One of the things I most like about Detroit techno in general is the fact that it's quite difficult to pigeonhole - you go to a Detroit techno party, and you're going to hear a very wide range of music as the night progresses. Most other styles of dance music can't really boast that degree of internal variation, I don't think. Brendan -Original Message- From: Matt Chester [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 11:30 To: 313@hyperreal.org; [EMAIL PROTECTED] Subject: Re: (313) Detroit Techno For my part though, the mention of 'Detroit Techno' always makes me think of the richer, funkier and melodic side of things - tracks like Amazon and Final Frontier are the first in my thoughts. The likes of Mills and Hood wouldn't spring to mind at all, although I do love their earlier material and they are obviously just as much a part of Detroit's history...
RE: (313) Detroit Techno
just to be argumentative as well. (I love arguing with Martin!) a) Sunday is the best day of the week! b) I think the Los Hermanos stuff is pretty nice, but am definitely feeling some of the stuff from more european based producers more. (or not exclusively euro stuff) but you know, MOS, Ross154 etc. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
(313) [Amsterdam Spam] Klakson / BlackLabel party
_ saturday 11th September Klakson vs. BlackLabel Live: Dexter Comtron Dj's: Steffi Sturmey Archer 10pm, 5 euro Pakhuis Wilhelmina, Amsterdam _ Next saturday, 11 september - Amsterdam electrofunk labels Klakson and BlackLabel are throwing down a party at Pakhuis Wilhelmina, Amsterdam (Near Panama). 10pm onwards, entrance 5 euro. Finally together at one night, you'll get the two hottest electrofunk acts from The Netherlands. Dexter became well known after his two smashing electrofunk EPs I don't care Intruder, both these records turned out to become classics within it's genre, and to be played out by many dj's as Dave Clarke and Trevor Jackson. Next to the EPs, Dexter did several remixes, including one of electroclash biggest tunes Emerge by Fisherspooner. Comtron is one of the many projects by multi talent Bas Bron (aka Bastian, aka Seymour Bits, aka .. ). Together with his mate Rimer Veenman, they've done two very well received EPs What We Sell Evil System. Comtrom proves electronic music is more than just computers, as their live sets come with Rimer on live drums, next to Bas doing keys and vocals, a unique combination. Steffi and Sturmey Archer will be your dj's for the night. We hope to see you around!
RE: (313) Detroit Techno
Ishkur's? http://www.di.fm/edmguide/edmguide.html He's changed the definition and the tunes now! -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 10:31 AM To: 313@hyperreal.org Subject: RE: (313) Detroit Techno I remember when I first came across that Flash guide to electronic music that was put together by a bloke called Ashok or something, which attempted to sum up Detroit techno with an audio snippet of Hood's Pole Position and a spiel about how Detroit techno is supposed to make you feel quite disoriented and lost. # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
RE: (313) Detroit Techno
Ok, the reason I called on Ian Cheshire to join in is because - now this i v. apt :-) - he's currently engaged in an intermittent tour in Germany called 'The Detroit Impressions' tour. And I think the idea is that the artists involved, inc. Ian, give their own 'impression' of what Detroit techno is mostly all about. Now anyone who knows Ian, knows that apart from being a very decent bloke, also knows that the techno he plays is usually at least upbeat and quite often what you could say is 'hard'. The thing is, he is to me perhaps the most hands-on authority I've met about djing in Detroit (I think you've played in Detroit quite a few times Ian , right?). So he probably knows more than most what goes down in the techno world in Detroit, and what goes down well. Greg Earle, the reason I requested that you join in is that I just remember you talking about going to parties in Detroit many years ago and up to the present day. Correct me and forgive me if I confabulate (a rare occurence, right?!?! ;-) Overall though, I think I'm with Brendan on this. For me, Detroit techno covers a lot of styles. It's hard, or it's purist, or it's melodic, or it's minimal, or it's electro! :-) Often it's got elements of all the above and usually, most people would agree that whatever 'funk' is, that undefinable element can often seemt to be in what we call 'Detroit Techno'. Just to give an example of what I'm listening to a lot at the moment which I'd say falls into the above - 'R U Ready' by X-Ile, on Direct Beat. Now of course, this is what most would call 'electro'. But to me the essence of what Detroit 'techno' (heh) is all about is in that record, and many more quite like it. k -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 10:57 AM To: 313@hyperreal.org Subject: Re: (313) Detroit Techno Los Hermanos 'Quetzal' - for me that's the bullseye. and I'd argue that that record is pretty average. ha ha ha ha ha, lets argue all day, it's fun. : ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
Ishkur's? http://www.di.fm/edmguide/edmguide.html He's changed the definition and the tunes now! (Perhaps as a response to the flamings!) -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 10:31 AM To: 313@hyperreal.org Subject: RE: (313) Detroit Techno I remember when I first came across that Flash guide to electronic music that was put together by a bloke called Ashok or something, which attempted to sum up Detroit techno with an audio snippet of Hood's Pole Position and a spiel about how Detroit techno is supposed to make you feel quite disoriented and lost. # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
RE: (313) Detroit Techno
Ian's probably away being an international dj Ken! btw, for the record, this is exactly what I think too: (and I think it's pretty much the definitive answer) For me, Detroit techno covers a lot of styles. It's hard, or it's purist, or it's melodic, or it's minimal, or it's electro! :-) Often it's got elements of all the above and usually, most people would agree that whatever 'funk' is, that undefinable element can often seemt to be in what we call 'Detroit Techno' and I wasn't sort of arguing, or trying to make the point that it *should* be one thing or the other, that's exactly the opposite of what I think, it's just what Matt said yesterday really made me think about the other people on this list, and maybe they get a bit hacked off with me and a few others talking about the kind of techno we like, as opposed to maybe what the majority think. err, so yeah, clear as mud. sorry, just trying to clarify what I was on about. I'm in some sort of community minded mood today. (I think) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno
with all this talk about nothing.. is detroit techno, techno from detroit only? or can it come from i.e. rotterdam as well? -- Nomorewords.net Bentinckstraat 66-2 1051 GN Amsterdam The Netherlands fax +31-20-486-9624 - Original Message - From: [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, September 07, 2004 1:00 PM Subject: RE: (313) Detroit Techno Ian's probably away being an international dj Ken! btw, for the record, this is exactly what I think too: (and I think it's pretty much the definitive answer) For me, Detroit techno covers a lot of styles. It's hard, or it's purist, or it's melodic, or it's minimal, or it's electro! :-) Often it's got elements of all the above and usually, most people would agree that whatever 'funk' is, that undefinable element can often seemt to be in what we call 'Detroit Techno' and I wasn't sort of arguing, or trying to make the point that it *should* be one thing or the other, that's exactly the opposite of what I think, it's just what Matt said yesterday really made me think about the other people on this list, and maybe they get a bit hacked off with me and a few others talking about the kind of techno we like, as opposed to maybe what the majority think. err, so yeah, clear as mud. sorry, just trying to clarify what I was on about. I'm in some sort of community minded mood today. (I think) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
(313) Last minute party reminder. Ian O'Brien / WildPlanet Live This Saturday London.
Just a last minute reminder for London peeps. Also, we hear from IOB that
the man will be performing a 2 deck/laptop/Ableton live set and the Live PA
are bringing half a studio with them, so it should be a pretty full on
evening. See below for details.
The Outlet Collective in conjunction with Digital Soul Records present the
second in 2 nights of...
DIGITAL SOUL REBELS @ S.E.N.D.
Featuring...
Ian O'Brien (Peacefrog / Ferox, UK)
The Concrete Soul Collective presents:
Electronical Funk with Soul - LIVE
featuring:
Kenny Black (Digital Soul / Finest Blend Recordings, Sweden)
Simon 'J' Hartley (a.k.a Wild Planet - 430 West / Warp, UK)
...alongside Digital Soul residents The Outlet DJ crew.
Saturday 11th September 2004.
The Platinum Bar
25 Paul Street London. Nr. Old Street Tube
8pm - 4am
Entrance: £6 IN ADVANCE - Available directly from
[EMAIL PROTECTED] /
www.outletcollective.com or by phoning 07967 332 964.
£8 on the door
With barely enough time to catch our breath since the mêlée that was this
July's DS / OC collabo', it's time for us to fill you all in on what lies in
store for what we believe will be the perfect follow-up to the funk-ass
beats that Dan Curtin Peel Seamus spoiled us with during the first
collaboration between East London's Outlet Collective Brighton's Digital
Soul Records.
Since their inception 3 years ago, Digital Soul, with their ever-present,
strong sense of quality control, have been unleashing a steady stream of
first class deep n' funky, sometimes Detroit inspired, electronic
dance-music from their stable of extremely inspired producers; namely
Splinterfaction a.k.a. Mik Poynter (Previously releasing on the now defunct
Ugly Cutz label), The Monolith a.k.a. Andrew Moorse, Derek Carr (Trident,
Psychonavigation), D5 a.k.a. John Harvey/Dimension5 (Delsin, Raygun). Having
launched the excellent Splinterfaction remix e.p.(*) at the previous Digital
Soul Rebels party we are now extremely excited to be able to not only
showcase the producers behind their imminent new release, The Concrete Soul
Collective, but also one of the key inspiration to both the Digital Soul and
Outlet camps, the incomparable Ian O'Brien.
...Releasing 3 outstanding albums, a stack of killer 12s, numerous timeless
remixes for the likes of Telex Lisa Stansfield (Believe!!!), contributed
to the legendary 'Brother From Another Planet' project for Detroit's seminal
Seventh City imprint and compiled the eclectic 'Soul of Science'
compilations alongside Kirk Degiorgio, Ian has proved himself to be
something of a unique voice in electronic music. His music knows no
boundaries and spans pure Detroit ('Mad Mike Disease') thru the deep, the
jazzy excursions of his classic 'Gigantic Days' album to what can only be
described as the techno equivelent of 'Apache' (The awesome 'Teentown Beats
'). Ian's appearance heralds the arrival of a truly talented musician that
consistently defies expectation and we strongly urge you to join us for a
rare opportunity to hear Ian play in an intimate, artist-friendly
environment.
Making their LIVE UK DEBUT is the mysterious and enigmatic Stockholm-based
collective known as Concrete Soul - A collection of self proclaimed 'Funk
Tacticians' specialising in Hi-Tech Grooves. Having already clocked up
releases already on their own label, Finest Blend Recordings, and with
further funk due to drop on Digital Soul Records this year, this PA is a
unique opportunity to see two of their senior tacticians, Kenny Black and
Simon J Hartley, rocking the 24 track. The fact that half of the duo is none
other than the highly revered, but criminally under-acclaimed Wildplanet
(aka Simon Hartley), best known for his killer albums on both Warp records
and the outstanding 'Transmitter' LP on 430 West, makes the prospect of this
show even more exciting as his solo shows as Wildplanet are legendary. We
don't know exactly what to expect other than that it's going to rock the
floor, but don't be surprised to hear some WildPlanet classics along with a
bunch of new material from the Concrete Soul crew's various incarnations!
PLEASE NOTE: As stated above, this party will operate on an advance entry
basis with pre-paid entry being available by phone or email from the Outlet
or Digital Soul camps - There is limited capacity of 160 people, no
guaranteed entry on the night and THIS EVENT WILL SELL OUT, so to avoid
disappointment, please get your ticket orders to us as quickly as possible!
...We sincerely hope too see ya there!
Peace.
OC DS 2004
www.midnightsunshine.com
www.concretesoulcollective.com
www.digital-soul.co.uk
Re: (313) Last minute party reminder. Ian O'Brien / WildPlanet Live This Saturday London.
Also, we hear from IOB that the man will be performing a 2 deck/laptop/Ableton live set ooh, good luck with this. hey, he did a track with Kirk, called Night On The Promenade It's stunning, really stunning, sounds like Icon or something. Hope he plays it for you. Guess it's not really dancefloor tackle though. Will be on that ART lp. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Last minute party reminder. Ian O'Brien / WildPlanet Live This Saturday London.
Well, I've pretty much told him to go for it and play what he wants. He's certainly not going to feel shackled into having to play a Fabric set and I know hes going to be playing unreleased material, so who knows. - Original Message - From: [EMAIL PROTECTED] To: 313@HYPERREAL.ORG Sent: Tuesday, September 07, 2004 12:09 PM Subject: Re: (313) Last minute party reminder. Ian O'Brien / WildPlanet Live This Saturday London. Also, we hear from IOB that the man will be performing a 2 deck/laptop/Ableton live set ooh, good luck with this. hey, he did a track with Kirk, called Night On The Promenade It's stunning, really stunning, sounds like Icon or something. Hope he plays it for you. Guess it's not really dancefloor tackle though. Will be on that ART lp. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 12:01 it's just what Matt said yesterday really made me think about the other people on this list, and maybe they get a bit hacked off with me and a few others talking about the kind of techno we like, as opposed to maybe what the majority think. I see what you mean... but I think that, on 313, there's a pretty heavy leaning towards the melodic, funky and soulful sorts of things. The majority of people on this list aren't here for hard techno, I reckon; mailing lists like G-Tech cater for that audience. While people aren't going to get shouted down for mentioning things like Punisher on here, you could probably guess that the average 313er is someone who likes a bit of the hard stuff when out in some dark sweaty club at 4am on a Sunday morning, but who generally looks for either a bit more funk or a bit more cerebral involvement from their electronic music. I might be wrong though! Who knows what the hundreds of 313 lurkers out there might be thinking? :) Brendan
Re: (313) Detroit Techno
with all this talk about nothing.. us, talk about nothing? surely not. ; ) is detroit techno, techno from detroit only? hmm, never did know the answer to that Q. but, say, that Hal Varian track Catalysm sounds very detroit techno to me, like Carl Craig in fact. or can it come from i.e. rotterdam as well? thats clogno. ; ) _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno/babe ruth
- Original Message - From: [EMAIL PROTECTED] Date: Tuesday, September 7, 2004 11:12 am Subject: Re: (313) Detroit Techno Hmm. Maybe my point was, are we in the wrong place to talk about that more melodic stuff, and the influences for it? Like, for example, I could talk about wierd electronic disco pieces that inspired detroit techno all day long, but, does that get on most peoples nerves? i.e. are most of the list here to find out about current stuff, or hardstuff, or are you open to whatever and not too bothered either way? I think this was my point I suppose. i wanna hear about it all! the more i learn the less i realise i actually know. 'the mexican' is also on a bbe compilation http://www.bbemusic.com/data.pl?release=BBECD040
(313) U2 cover Krafty
Nicked from Martin's site: (cheers Martin btw) U2 cover Kraftwerk! http://www.nme.com/news/109789.htm I happen to know another band have done a kraftwerk cover. I was surprised at how good it was. I think it shows that Kraftwerk amongst other things were truly awesome song writers. Which is something that gets forgotten easily I think. (or well, by me) Alex btw, are there any Brighton fans out there? I often thought Kraftwerks Neon Lights would make an excellent terrace song : Leon Knight, Leon Knight etc. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) U2 cover Krafty
Ha Ha, thats a good one! I'll have to give that a go when I'm down the Withdean next! Thats if he actually starts playing well anytime soon! - Original Message - From: [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, September 07, 2004 1:30 PM Subject: (313) U2 cover Krafty Nicked from Martin's site: (cheers Martin btw) U2 cover Kraftwerk! http://www.nme.com/news/109789.htm I happen to know another band have done a kraftwerk cover. I was surprised at how good it was. I think it shows that Kraftwerk amongst other things were truly awesome song writers. Which is something that gets forgotten easily I think. (or well, by me) Alex btw, are there any Brighton fans out there? I often thought Kraftwerks Neon Lights would make an excellent terrace song : Leon Knight, Leon Knight etc. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
WIDE OPEN. Kamal K. Stoddard Turner Broadcasting Systems Entech Bebop was about change, about evolution. It wasn't about standing still and becoming safe. If anybody wants to keep creating they have to be about change. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 6:12 AM To: 313@hyperreal.org Subject: Re: (313) Detroit Techno Hmm. Maybe my point was, are we in the wrong place to talk about that more melodic stuff, and the influences for it? Like, for example, I could talk about wierd electronic disco pieces that inspired detroit techno all day long, but, does that get on most peoples nerves? i.e. are most of the list here to find out about current stuff, or hard stuff, or are you open to whatever and not too bothered either way? I think this was my point I suppose. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
KamalWIDE OPEN sweet! sometimes I think it's best to check these things once in a while though right? p.s. your name sounds like a basketball player's. are you 8 feet tall? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Detroit Techno
Marsel wrote: with all this talk about nothing.. is detroit techno, techno from detroit only? or can it come from i.e. rotterdam as well? i'd say it has to come from detroit te be called detroit techno [that is, that's the tendency i see all around]. (detroit) techno started with rhythim is rhythim, model 500, cybotron, innercity, etc. that was called techno. than ur, robert hood, alan oldham and jeff mills came, and took the sound into a different direction. that was still called techno (detroit techno). other evolved techno sounds from detroit are still referenced by many as detroit techno. but how about b12, black dog etc? detroit techno? or something else? ig culture, 4hero, maurizio, kompakt or playhouse detroit techno? the way i see it, is that if it sounds like some techno (offspring) that originally originated in detroit, it will be called detroit techno. if however the evolved version was first released outside of detroit, it will not be called detroit techno. jurren _ Talk with your online friends with MSN Messenger http://messenger.msn.nl/
Re: (313) Detroit techno
ok, how would you people categorize a record by i.e. Duplex or D5? :-) i thought for B12 and Black Dog was the term intelligent techno? always liked that one ;-) saw also ambient techno, or ambi-techno being used. delsin has been called post-detroit and once somewhere as well soft-techno isn't that wonderful?
RE: (313) Detroit techno
I was also thinking that Digital Soul and 11th Hour material could be described as Detroit techno, but post-Detroit is better I guess. Actually, no it's not. Post-anything is a horrible term! -Original Message- From: Marsel // Nomorewords.net [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 3:29 PM To: 313 Subject: Re: (313) Detroit techno ok, how would you people categorize a record by i.e. Duplex or D5? :-) i thought for B12 and Black Dog was the term intelligent techno? always liked that one ;-) saw also ambient techno, or ambi-techno being used. delsin has been called post-detroit and once somewhere as well soft-techno isn't that wonderful? # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
RE: (313) Detroit techno
that last 11th hour is a killer btw, really digging it. Alex, there´s yer new tune-tip, go get it. new oliver who is also very good, at least the rmx on it. get out your wallet and purchase, purchase, purchase. -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: dinsdag 7 september 2004 18:31 To: Marsel // Nomorewords.net; 313 Subject: RE: (313) Detroit techno I was also thinking that Digital Soul and 11th Hour material could be described as Detroit techno, but post-Detroit is better I guess. Actually, no it's not. Post-anything is a horrible term! -Original Message- From: Marsel // Nomorewords.net [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 3:29 PM To: 313 Subject: Re: (313) Detroit techno ok, how would you people categorize a record by i.e. Duplex or D5? :-) i thought for B12 and Black Dog was the term intelligent techno? always liked that one ;-) saw also ambient techno, or ambi-techno being used. delsin has been called post-detroit and once somewhere as well soft-techno isn't that wonderful? # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. # The information contained in this e-mail communication is solely intended for the person/legal person to whom it has been sent, and as it may contain information of a personal or confidential nature, it may not be made public by virtue of law, regulations or agreement. If someone other than the intended recipient should receive or come into possession of this e-mail communication, he/she will not be entitled to read, disseminate, disclose or duplicate it. If you are not the intended recipient, you are requested to inform the sender of this e-mail message of this immediately, and to destroy the original e-mail communication. Neither Randstad Holding nv nor its subsidiaries accept any liability for incorrect and incomplete transmission or delayed receipt of this e-mail.
Re: (313) Detroit techno
Well I'd call the new 12 by Matt Chester on 11th Hour brilliant if you asked me - just trying review it but I just keep drifting off - thinking about better places to be than grey Sheffield - A2 and B2 are my picks... Cheers Martin On 7 Sep 2004, at 17:31, Robert Taylor wrote: I was also thinking that Digital Soul and 11th Hour material could be described as Detroit techno, but post-Detroit is better I guess. Actually, no it's not. Post-anything is a horrible term!
Re: (313) Detroit techno
Totally agree! Ken courthouse intl. audio - Original Message - From: Martin Dust [EMAIL PROTECTED] To: Robert Taylor [EMAIL PROTECTED] Cc: Marsel // Nomorewords.net [EMAIL PROTECTED]; 313 313@hyperreal.org Sent: Tuesday, September 07, 2004 5:38 PM Subject: Re: (313) Detroit techno Well I'd call the new 12 by Matt Chester on 11th Hour brilliant if you asked me - just trying review it but I just keep drifting off - thinking about better places to be than grey Sheffield - A2 and B2 are my picks... Cheers Martin On 7 Sep 2004, at 17:31, Robert Taylor wrote: I was also thinking that Digital Soul and 11th Hour material could be described as Detroit techno, but post-Detroit is better I guess. Actually, no it's not. Post-anything is a horrible term!
Re: (313) Detroit techno
delsin has been called post-detroit and once somewhere as well soft-techno now you see, I'd call Delsin a 'proper' techno label. but I guess I'd be in the minority. it has all the hallmarks of what I think techno should be. thanks for the tip on the 11th hour all, will check! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit techno
Thanks to all those who hit me back about my posts. It seems your getting them and I'm not. This is due to my mail at work being ed up. Annoying but I guess when I rely on work for a PC I can't complain - I should get my own. But then how would I afford those seductive black shiny discs? What makes things worse is that it's not that I'm not receiving anything at all instead mails are coming through sporadically in a random order. Try reading the thread above when sometimes a rejoinder precedes the comment that occasioned it by a couple of days! Alex I hope your diss of Quetzal doesn't include Tescat or I'm gonna nuke Irlam Of The Height.
Re: (313) Detroit techno
Thanks guys, glad you like it! Your cheques are in the post ;-) - Original Message - From: DJ Ken [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Tuesday, September 07, 2004 4:45 PM Subject: Re: (313) Detroit techno Totally agree! Ken courthouse intl. audio - Original Message - From: Martin Dust [EMAIL PROTECTED] To: Robert Taylor [EMAIL PROTECTED] Cc: Marsel // Nomorewords.net [EMAIL PROTECTED]; 313 313@hyperreal.org Sent: Tuesday, September 07, 2004 5:38 PM Subject: Re: (313) Detroit techno Well I'd call the new 12 by Matt Chester on 11th Hour brilliant if you asked me - just trying review it but I just keep drifting off - thinking about better places to be than grey Sheffield - A2 and B2 are my picks... Cheers Martin On 7 Sep 2004, at 17:31, Robert Taylor wrote: I was also thinking that Digital Soul and 11th Hour material could be described as Detroit techno, but post-Detroit is better I guess. Actually, no it's not. Post-anything is a horrible term!
RE: (313) Detroit techno
Alex I hope your diss of Quetzal doesn't include Tescat or I'm gonna nuke Irlam Of The Height. Heh! I wasn't really dissing it or owt, just saying that I thought it was just OK, not in my top 100 or owt. You can't nuke t'heights, it's the new Detroit I'll have you know. Me/Jonny/Dave/Dunc all have luxury (?!) penthouses there. You know the sort of luxury housing you get in Salford.. Axis of er, evil. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
(313) May Saunderson Win Awards
Saw this on LD: Governor recognizes Mich. contributors to cultural history August 30, 2004 BY FRANK PROVENZANO FREE PRESS STAFF WRITER Two pioneers of what was once considered underground music will receive the state's highest recognition for artistic success from Gov. Jennifer Granholm. Today, Detroiters Derrick May and Kevin Saunderson, who as DJs and music producers helped propel techno into a worldwide phenomenon, will be named recipients of the International Achievement Award as part of this year's Governor's Awards for Arts Culture. While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown. First, there was the Detroit Electronic Music Festival, which brought hundreds of thousands of music lovers to Hart Plaza for Memorial Day weekend dance music. Then there was Techno: Detroit's Gift to the World, an 18-month-long exhibit that ended this month at the Detroit Historical Museum, which illuminated their role in putting techno on the international music map. Then came May and Saunderson's prominent roles in shaping Movement, the techno music festival in Detroit's Hart Plaza that replaced DEMF. The pair joins a Who's Who of Michigan cultural history who have received the award, including Aretha Franklin, Lily Tomlin, James Earl Jones, the Four Tops, Elmore Leonard, Arthur Miller and Smokey Robinson. Earlier in my career, I would've thought that being part of a tradition would mean that I was giving up some independence and control, but now, I see it as part of our legacy, said Saunderson, 39, preparing to leave Detroit for a concert tour of Holland, Belgium and Germany. Everywhere we go around the world, people realize the scene wouldn't be what it is if it wasn't for our ambition, he said. In discussing the history of Detroit techno, Juan Atkins is typically cited along with May and Saunderson as the most important groundbreakers. Officials say that Atkins was not included because he no longer lives in Michigan, though other winners had moved before their awards. The governor's awards also include patrons Maxine and Stuart Frankel of Bloomfield Hills for donating $10 million to the University of Michigan Museum of Art; Dr. C. Robert Maxfield, superintendent of Farmington Public Schools, for pushing the arts as part of core curriculum classes, and former Detroit Symphony Orchestra artist-in-residence Michael Daugherty, who has composed a homage to the city titled MotorCity Triptych. The 19th annual Governor's Awards for Arts Culture event is coordinated by ArtServe Michigan, a statewide nonprofit arts advocacy agency aiming to increase public arts funding and recognition for the state's artists.. This year's ceremony will be Nov. 18 at the Henry Ford in Dearborn. Tickets are $50-$300, with proceeds going to ArtServe, which typically grosses $300,000 at the event. A call for nominations went out in May. In mid August, a selection committee sifted through 250 nominations. The final decision was based on the impact and contributions that the nominees made to a community. These choices signify the size, breadth and diversity of our cultural umbrella, said ArtServe President Barbara Kratchman. Michigan artists are on the level of those in New York, Chicago, L.A. and anyplace else. We need to recognize what we have here. Like past years, the recipients are from around Michigan. Among the winners are Latin pop singer Liliana Rokita of Saginaw as Emerging Artist of the Year; while the award for Cultural Organization of the Year is shared among Blissfest Music of Petoskey, Grand Rapids Ballet and the city of Marquette's arts department. For Rokita, 32, who recently recorded her first CD and often steps from the stage to dance with fans, the award means immediate credibility. Now, when people hear I've won this award, they will stop and say, 'Let's see why,' said Rokita, who 11 years ago emigrated from Toluca, Mexico.. The attention is so important when you live outside large Hispanic cities, and want to reach the non-Spanish population, too. With a modest $160,000 budget for arts programming, the city of Marquette coordinates and provides seed money for a regional symphony, summer theater company, annual arts show and a mid-winter dog sled race. We don't have large corporations up here, so we have to rely on volunteers and individual donations, said Reatha Tweedie, director of Marquette's arts department. People here see the immediate impact of giving their time and money to the arts, so they tend to give more readily. Last year, after cutting arts grants from nearly $23 million to $11.8 million, Granholm addressed those at the awards ceremony and talked about the vital role of the arts. This year, appeals from arts advocates for increased
RE: (313) May Saunderson Win Awards
But no juan that's f*^%d up p -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 18:46 To: 313@hyperreal.org Subject: (313) May Saunderson Win Awards Saw this on LD: Governor recognizes Mich. contributors to cultural history August 30, 2004 BY FRANK PROVENZANO FREE PRESS STAFF WRITER Two pioneers of what was once considered underground music will receive the state's highest recognition for artistic success from Gov. Jennifer Granholm. Today, Detroiters Derrick May and Kevin Saunderson, who as DJs and music producers helped propel techno into a worldwide phenomenon, will be named recipients of the International Achievement Award as part of this year's Governor's Awards for Arts Culture. While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown. First, there was the Detroit Electronic Music Festival, which brought hundreds of thousands of music lovers to Hart Plaza for Memorial Day weekend dance music. Then there was Techno: Detroit's Gift to the World, an 18-month-long exhibit that ended this month at the Detroit Historical Museum, which illuminated their role in putting techno on the international music map. Then came May and Saunderson's prominent roles in shaping Movement, the techno music festival in Detroit's Hart Plaza that replaced DEMF. The pair joins a Who's Who of Michigan cultural history who have received the award, including Aretha Franklin, Lily Tomlin, James Earl Jones, the Four Tops, Elmore Leonard, Arthur Miller and Smokey Robinson. Earlier in my career, I would've thought that being part of a tradition would mean that I was giving up some independence and control, but now, I see it as part of our legacy, said Saunderson, 39, preparing to leave Detroit for a concert tour of Holland, Belgium and Germany. Everywhere we go around the world, people realize the scene wouldn't be what it is if it wasn't for our ambition, he said. In discussing the history of Detroit techno, Juan Atkins is typically cited along with May and Saunderson as the most important groundbreakers. Officials say that Atkins was not included because he no longer lives in Michigan, though other winners had moved before their awards. The governor's awards also include patrons Maxine and Stuart Frankel of Bloomfield Hills for donating $10 million to the University of Michigan Museum of Art; Dr. C. Robert Maxfield, superintendent of Farmington Public Schools, for pushing the arts as part of core curriculum classes, and former Detroit Symphony Orchestra artist-in-residence Michael Daugherty, who has composed a homage to the city titled MotorCity Triptych. The 19th annual Governor's Awards for Arts Culture event is coordinated by ArtServe Michigan, a statewide nonprofit arts advocacy agency aiming to increase public arts funding and recognition for the state's artists.. This year's ceremony will be Nov. 18 at the Henry Ford in Dearborn. Tickets are $50-$300, with proceeds going to ArtServe, which typically grosses $300,000 at the event. A call for nominations went out in May. In mid August, a selection committee sifted through 250 nominations. The final decision was based on the impact and contributions that the nominees made to a community. These choices signify the size, breadth and diversity of our cultural umbrella, said ArtServe President Barbara Kratchman. Michigan artists are on the level of those in New York, Chicago, L.A. and anyplace else. We need to recognize what we have here. Like past years, the recipients are from around Michigan. Among the winners are Latin pop singer Liliana Rokita of Saginaw as Emerging Artist of the Year; while the award for Cultural Organization of the Year is shared among Blissfest Music of Petoskey, Grand Rapids Ballet and the city of Marquette's arts department. For Rokita, 32, who recently recorded her first CD and often steps from the stage to dance with fans, the award means immediate credibility. Now, when people hear I've won this award, they will stop and say, 'Let's see why,' said Rokita, who 11 years ago emigrated from Toluca, Mexico.. The attention is so important when you live outside large Hispanic cities, and want to reach the non-Spanish population, too. With a modest $160,000 budget for arts programming, the city of Marquette coordinates and provides seed money for a regional symphony, summer theater company, annual arts show and a mid-winter dog sled race. We don't have large corporations up here, so we have to rely on volunteers and individual donations, said Reatha Tweedie, director of Marquette's arts department. People here see the immediate impact of giving their time and money to the arts, so they tend to give more readily. Last year, after cutting arts grants from nearly $23 million to $11.8
Re: (313) May Saunderson Win Awards
While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown Just out of interest, do people from detroit feel they have broad acclaim in their hometown now? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) May Saunderson Win Awards
said Saunderson, 39, preparing to leave Detroit for a concert tour of Holland, Belgium and Germany. This line cracked me up! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) May Saunderson Win Awards
Weird reason given for not awarding him isn't it? -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 4:47 PM To: Robert Taylor; 313@hyperreal.org Subject: RE: (313) May Saunderson Win Awards But no juan that's f*^%d up p -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 18:46 To: 313@hyperreal.org Subject: (313) May Saunderson Win Awards Saw this on LD: Governor recognizes Mich. contributors to cultural history August 30, 2004 BY FRANK PROVENZANO FREE PRESS STAFF WRITER Two pioneers of what was once considered underground music will receive the state's highest recognition for artistic success from Gov. Jennifer Granholm. Today, Detroiters Derrick May and Kevin Saunderson, who as DJs and music producers helped propel techno into a worldwide phenomenon, will be named recipients of the International Achievement Award as part of this year's Governor's Awards for Arts Culture. While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown. First, there was the Detroit Electronic Music Festival, which brought hundreds of thousands of music lovers to Hart Plaza for Memorial Day weekend dance music. Then there was Techno: Detroit's Gift to the World, an 18-month-long exhibit that ended this month at the Detroit Historical Museum, which illuminated their role in putting techno on the international music map. Then came May and Saunderson's prominent roles in shaping Movement, the techno music festival in Detroit's Hart Plaza that replaced DEMF. The pair joins a Who's Who of Michigan cultural history who have received the award, including Aretha Franklin, Lily Tomlin, James Earl Jones, the Four Tops, Elmore Leonard, Arthur Miller and Smokey Robinson. Earlier in my career, I would've thought that being part of a tradition would mean that I was giving up some independence and control, but now, I see it as part of our legacy, said Saunderson, 39, preparing to leave Detroit for a concert tour of Holland, Belgium and Germany. Everywhere we go around the world, people realize the scene wouldn't be what it is if it wasn't for our ambition, he said. In discussing the history of Detroit techno, Juan Atkins is typically cited along with May and Saunderson as the most important groundbreakers. Officials say that Atkins was not included because he no longer lives in Michigan, though other winners had moved before their awards. The governor's awards also include patrons Maxine and Stuart Frankel of Bloomfield Hills for donating $10 million to the University of Michigan Museum of Art; Dr. C. Robert Maxfield, superintendent of Farmington Public Schools, for pushing the arts as part of core curriculum classes, and former Detroit Symphony Orchestra artist-in-residence Michael Daugherty, who has composed a homage to the city titled MotorCity Triptych. The 19th annual Governor's Awards for Arts Culture event is coordinated by ArtServe Michigan, a statewide nonprofit arts advocacy agency aiming to increase public arts funding and recognition for the state's artists.. This year's ceremony will be Nov. 18 at the Henry Ford in Dearborn. Tickets are $50-$300, with proceeds going to ArtServe, which typically grosses $300,000 at the event. A call for nominations went out in May. In mid August, a selection committee sifted through 250 nominations. The final decision was based on the impact and contributions that the nominees made to a community. These choices signify the size, breadth and diversity of our cultural umbrella, said ArtServe President Barbara Kratchman. Michigan artists are on the level of those in New York, Chicago, L.A. and anyplace else. We need to recognize what we have here. Like past years, the recipients are from around Michigan. Among the winners are Latin pop singer Liliana Rokita of Saginaw as Emerging Artist of the Year; while the award for Cultural Organization of the Year is shared among Blissfest Music of Petoskey, Grand Rapids Ballet and the city of Marquette's arts department. For Rokita, 32, who recently recorded her first CD and often steps from the stage to dance with fans, the award means immediate credibility. Now, when people hear I've won this award, they will stop and say, 'Let's see why,' said Rokita, who 11 years ago emigrated from Toluca, Mexico.. The attention is so important when you live outside large Hispanic cities, and want to reach the non-Spanish population, too. With a modest $160,000 budget for arts programming, the city of Marquette coordinates and provides seed money for a regional symphony, summer theater company, annual arts show and a mid-winter dog sled race. We don't have large corporations up here, so we have to rely on volunteers and individual donations, said
Re: (313) May Saunderson Win Awards
i personally think that statement is bullsh*t. the last five years? please.yes-that's rightthe city of detroit _just_ started utilizing may and saunderson's talents and contributions.suddenly in 1999 the city said 'oh snap-WHO lives here!? well crap- we should let em spin out some' and i mean it was only until 1999 that saying 'i'm from detroit' to any techno dork held any weight. *snicker* if anything, in the last five years other sources of talents have been able to break through the shadow and myth that the 'founding fathers' have held on detroit for so many years. what exaclty does 'acclaim' mean? a plaque you can hang on your wall, an award on a shelf, a cover of a magazine, or thousands upon thousands of people showing up to gigs and little festivals held in hart plaza? sorry- but that little piece of that article exactly honed in on one of my sensitive points. flameon. d np:True Love Waits:Chris Oreily plays Radio head...sorry i'm not showing my aclaim at this moment. --- [EMAIL PROTECTED] wrote: While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown Just out of interest, do people from detroit feel they have broad acclaim in their hometown now? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring ___ Do you Yahoo!? Win 1 of 4,000 free domain names from Yahoo! Enter now. http://promotions.yahoo.com/goldrush
RE: (313) Detroit Techno
The original question, IIRC, was whether Detroit Techno (as a term) brought to mind abstract, string-laden melodies (the kind that demand emotional as well as physical response) or abstract-minimal-but-bangin' nonetheless tracks like the ones that have long made Mills famous. Of course, the question, what does Detroit techno mean today? is open, and answerable by all who care. Whether they're Aril Brikha (not from Detroit) or KDJ (militantly from it, and of it), all who care contribute to the ongoing answer. Which is why Detroit Techno as a term, like the 313 list itself, hasn't shrivelled into a too-narrow, too-precise, and too-uptight-to-have-fun genre. (This is, BTW, exactly what Simon Reynolds continually argues about Detroit and Detroit-o-philes in _Generation Ecstacy_. A big raspberry to him.) But asking whether Hood and Mills count as mainstream Detroit techno actually pins quite nicely the *historical* (not present-interpretive) component of the question. What if ALL of Mills' output is really taken as a centre or mainstream of Detroit Techno. I mean everything from Wizard sets (which are contemporaneous to the prep scene in Detroit, and predate the very coinage techno as do the early works of Atkins, May Saunderson) to his work with the industrial Final Cut to his abstract soundtrack works to the hardest Punisher Axis releases... I don't mean to diminish the work of anyone else with this example, but if you consider Mills as the very centre around which Detroit Techno has whirled and developed, you get an answer that takes you back to the very beginning: In the beginning, there was a crowd of kids who tried different things. They experimented -- with analog synths, with turntables, with backtracking their way out of mixes, they tried on early hip-hop electro mixing techniques, and were driven both by the mad techne (technical wizardry, whatever) of pounding rhythms and by the desire to express something through machines, without recourse to what they clearly saw as limiting forms of balladry storytelling in RB, rock-n-roll, etc. They have truck with hard percussion stripped of all melody, and they put out lush instrumental soundtracks that sound like they come from American Minimal composers like Steve Reich or John Cage. They try nearly *everything*. Put simply, the *breadth* of the field, and the willingness to engage and invent, are what characterize early techno. And I think, given the immense musical variety of those who still point back to Detroit, these things still characterize Detroit Techno today. Please continue to discuss at length. That's what this list has been here for -- ten years now. -marc c. At 11:30 AM +0100 9/7/04, Brendan Nelson wrote: I remember when I first came across that Flash guide to electronic music that was put together by a bloke called Ashok or something, which attempted to sum up Detroit techno with an audio snippet of Hood's Pole Position and a spiel about how Detroit techno is supposed to make you feel quite disoriented and lost. Of course, that *totally* missed the point, and I remember he was getting so many emails from people on 313 that he even put up a little notice saying if you're on the 313 list, don't email me OK!?... However, I do think that Hood and Mills count as Detroit techno (obviously!) even though they're not what might be called mainstream Detroit techno. One of the things I most like about Detroit techno in general is the fact that it's quite difficult to pigeonhole - you go to a Detroit techno party, and you're going to hear a very wide range of music as the night progresses. Most other styles of dance music can't really boast that degree of internal variation, I don't think. Brendan -Original Message- From: Matt Chester [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 11:30 To: 313@hyperreal.org; [EMAIL PROTECTED] Subject: Re: (313) Detroit Techno For my part though, the mention of 'Detroit Techno' always makes me think of the richer, funkier and melodic side of things - tracks like Amazon and Final Frontier are the first in my thoughts. The likes of Mills and Hood wouldn't spring to mind at all, although I do love their earlier material and they are obviously just as much a part of Detroit's history...
RE: (313) May Saunderson Win Awards
It's amazing to me that the Governors' people didn't more clearly focus on the Techno then - to DEMF now connection. Making that link would have allowed them to award May Saunderson, and opt-in *or* opt out both Atkins Carl Craig. But sometimes people in government aren't really as good at spinning their arbitrary decisions as those on the ground... -marc At 5:50 PM + 9/7/04, Robert Taylor wrote: Weird reason given for not awarding him isn't it? -Original Message- From: placid [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 4:47 PM To: Robert Taylor; 313@hyperreal.org Subject: RE: (313) May Saunderson Win Awards But no juan that's f*^%d up p -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 18:46 To: 313@hyperreal.org Subject: (313) May Saunderson Win Awards Saw this on LD: Governor recognizes Mich. contributors to cultural history August 30, 2004 BY FRANK PROVENZANO FREE PRESS STAFF WRITER Two pioneers of what was once considered underground music will receive the state's highest recognition for artistic success from Gov. Jennifer Granholm. Today, Detroiters Derrick May and Kevin Saunderson, who as DJs and music producers helped propel techno into a worldwide phenomenon, will be named recipients of the International Achievement Award as part of this year's Governor's Awards for Arts Culture. While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown. First, there was the Detroit Electronic Music Festival, which brought hundreds of thousands of music lovers to Hart Plaza for Memorial Day weekend dance music. Then there was Techno: Detroit's Gift to the World, an 18-month-long exhibit that ended this month at the Detroit Historical Museum, which illuminated their role in putting techno on the international music map. Then came May and Saunderson's prominent roles in shaping Movement, the techno music festival in Detroit's Hart Plaza that replaced DEMF. The pair joins a Who's Who of Michigan cultural history who have received the award, including Aretha Franklin, Lily Tomlin, James Earl Jones, the Four Tops, Elmore Leonard, Arthur Miller and Smokey Robinson. Earlier in my career, I would've thought that being part of a tradition would mean that I was giving up some independence and control, but now, I see it as part of our legacy, said Saunderson, 39, preparing to leave Detroit for a concert tour of Holland, Belgium and Germany. Everywhere we go around the world, people realize the scene wouldn't be what it is if it wasn't for our ambition, he said. In discussing the history of Detroit techno, Juan Atkins is typically cited along with May and Saunderson as the most important groundbreakers. Officials say that Atkins was not included because he no longer lives in Michigan, though other winners had moved before their awards. The governor's awards also include patrons Maxine and Stuart Frankel of Bloomfield Hills for donating $10 million to the University of Michigan Museum of Art; Dr. C. Robert Maxfield, superintendent of Farmington Public Schools, for pushing the arts as part of core curriculum classes, and former Detroit Symphony Orchestra artist-in-residence Michael Daugherty, who has composed a homage to the city titled MotorCity Triptych. The 19th annual Governor's Awards for Arts Culture event is coordinated by ArtServe Michigan, a statewide nonprofit arts advocacy agency aiming to increase public arts funding and recognition for the state's artists.. This year's ceremony will be Nov. 18 at the Henry Ford in Dearborn. Tickets are $50-$300, with proceeds going to ArtServe, which typically grosses $300,000 at the event. A call for nominations went out in May. In mid August, a selection committee sifted through 250 nominations. The final decision was based on the impact and contributions that the nominees made to a community. These choices signify the size, breadth and diversity of our cultural umbrella, said ArtServe President Barbara Kratchman. Michigan artists are on the level of those in New York, Chicago, L.A. and anyplace else. We need to recognize what we have here. Like past years, the recipients are from around Michigan. Among the winners are Latin pop singer Liliana Rokita of Saginaw as Emerging Artist of the Year; while the award for Cultural Organization of the Year is shared among Blissfest Music of Petoskey, Grand Rapids Ballet and the city of Marquette's arts department. For Rokita, 32, who recently recorded her first CD and often steps from the stage to dance with fans, the award means immediate credibility. Now, when people hear I've won this award, they will stop and say, 'Let's see why,' said Rokita, who 11 years ago emigrated from Toluca, Mexico.. The attention is so important when you live outside
Re: (313) May Saunderson Win Awards
The award is not from the city of Detroit but from the state of Michigan AFAIK but then i am not from Detroit :) On 7-sep-04, at 19:08, diana potts wrote: i personally think that statement is bullsh*t. the last five years? please.yes-that's rightthe city of detroit _just_ started utilizing may and saunderson's talents and contributions.suddenly in 1999 the city said 'oh snap-WHO lives here!? well crap- we should let em spin out some' and i mean it was only until 1999 that saying 'i'm from detroit' to any techno dork held any weight. *snicker* if anything, in the last five years other sources of talents have been able to break through the shadow and myth that the 'founding fathers' have held on detroit for so many years. what exaclty does 'acclaim' mean? a plaque you can hang on your wall, an award on a shelf, a cover of a magazine, or thousands upon thousands of people showing up to gigs and little festivals held in hart plaza? sorry- but that little piece of that article exactly honed in on one of my sensitive points. flameon. d np:True Love Waits:Chris Oreily plays Radio head...sorry i'm not showing my aclaim at this moment. --- [EMAIL PROTECTED] wrote: While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown Just out of interest, do people from detroit feel they have broad acclaim in their hometown now? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring ___ Do you Yahoo!? Win 1 of 4,000 free domain names from Yahoo! Enter now. http://promotions.yahoo.com/goldrush
Re: (313) Detroit Techno
Ken - my first Detroit party was the 313 5-year anniversary party in December 1999, and the last was Monday night at the Werks in June 2003. While I feel qualified to say what Detroit Techno means to me (for me, the rhythms - that shuffle beat with lots of hi-hats, etc. - is a key element compared to other music), I'll defer to the likes of Yussel, Garrett, Dan Sicko, Ian Malbon and Diana Potts when it comes to Detroit club music. Alex - I've got several friends in SF, but I've never lived there a day - I live in LA :) While I remember The Units, I don't think I ever saw them - they didn't play down my way too often. I was pretty skint in the late 70's Punk days so I couldn't get to 1/10th the number of shows I wish I could've gone to ... I assume you've seen http://www.synthpunk.org/units/history.html then? (Meanwhile, in the News Of The Weird dept.: http://www.theinquirer.net/?article=18250 Oi! You Irish lot! Put down your iPods and pull a pint, for Guinness God Country!) - Greg
Re: (313) May Saunderson Win Awards
i dont think that matters. the statement was 'won acclaim in their hometown' --- kj at technotourist dot org [EMAIL PROTECTED] wrote: The award is not from the city of Detroit but from the state of Michigan AFAIK but then i am not from Detroit :) On 7-sep-04, at 19:08, diana potts wrote: i personally think that statement is bullsh*t. the last five years? please.yes-that's rightthe city of detroit _just_ started utilizing may and saunderson's talents and contributions.suddenly in 1999 the city said 'oh snap-WHO lives here!? well crap- we should let em spin out some' and i mean it was only until 1999 that saying 'i'm from detroit' to any techno dork held any weight. *snicker* if anything, in the last five years other sources of talents have been able to break through the shadow and myth that the 'founding fathers' have held on detroit for so many years. what exaclty does 'acclaim' mean? a plaque you can hang on your wall, an award on a shelf, a cover of a magazine, or thousands upon thousands of people showing up to gigs and little festivals held in hart plaza? sorry- but that little piece of that article exactly honed in on one of my sensitive points. flameon. d np:True Love Waits:Chris Oreily plays Radio head...sorry i'm not showing my aclaim at this moment. --- [EMAIL PROTECTED] wrote: While techno has been embraced by the European masses since the late '80s, it's only been in the past five years that the men who most people credit as the godfathers of the music have won broad acclaim in their hometown Just out of interest, do people from detroit feel they have broad acclaim in their hometown now? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring ___ Do you Yahoo!? Win 1 of 4,000 free domain names from Yahoo! Enter now. http://promotions.yahoo.com/goldrush __ Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! http://promotions.yahoo.com/new_mail
Re: (313) Detroit Techno
On Tuesday, September 7, 2004, at 12:11 PM, marc christensen wrote: Which is why Detroit Techno as a term, like the 313 list itself, hasn't shrivelled into a too-narrow, too-precise, and too-uptight-to-have-fun genre. (This is, BTW, exactly what Simon Reynolds continually argues about Detroit and Detroit-o-philes in _Generation Ecstacy_. A big raspberry to him.) With all respect for Simon Reynolds, that boy was pretty quick to make that argument about any scene that wasn't grassroots or 'ardkore or working class enough for him (read: authentic). Mind you, if you can keep his biases in mind as you read, the book is otherwise quite useful. Gotta give it to him for attempting to write a history of EDM--however flawed. cheers, Luis Politics is parlour tricks. -W. Jean
(313) Undercity Distribution
Hey listmembers, I wonder if anyone on the list might have a contact for Koert Notario, know on the list occasionally as Dr Nutcracker? I haven't been able to contact him for several months now and wanted a word with him- if you have any way I can get in touch with him then please let me know many thanks Jason
(313) Re: new records
Erm - couple I heard recently that are not bad: Ame - Ame mini LP on Sonar Kollektiv Kind of odd record, quite a big Chi house influence apparent, but a bit more overtly melodic than say Claro Intelecto - some duff tracks but some corkers as well. Natures Plan feat Ed Motta (kenny Dope Mix) on Far Out This is a special mix done by KD for Far Out's 10th Birthday and it's pretty nice actually - great scat vocals from Ed Motta as well. The mix also preserves Marc Mac's exquisite strings - nicely done I think both of these will be out over the next couple of weeks or so.
RE: (313) The South Welcomes DTM
That's right,, The dirty south will host probably it's first night of Detroit Techno, Electro, Industrial, and DnB from the Detroit Techno Militia. Are there any other techno happening in the south? Or how about Boston on the weekend of the 16th and 17th. -Original Message- From: Dan Bean [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 07, 2004 3:51 PM To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: (313) Re: new records Erm - couple I heard recently that are not bad: Ame - Ame mini LP on Sonar Kollektiv Kind of odd record, quite a big Chi house influence apparent, but a bit more overtly melodic than say Claro Intelecto - some duff tracks but some corkers as well. Natures Plan feat Ed Motta (kenny Dope Mix) on Far Out This is a special mix done by KD for Far Out's 10th Birthday and it's pretty nice actually - great scat vocals from Ed Motta as well. The mix also preserves Marc Mac's exquisite strings - nicely done I think both of these will be out over the next couple of weeks or so.
RE: (313) [London spam] 313 Birthday Party - reminder
Should be fun! I'm leaving in a couple days for England, and can't wait to meetup with the England 313 posse! :) Cheers! G -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Monday, September 06, 2004 9:48 AM To: 313@hyperreal.org Subject: Re: (313) [London spam] 313 Birthday Party - reminder woo! nice one! Gerald from Canada too! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
AW: (313) Re: new records
Erm - couple I heard recently that are not bad: Ame - Ame mini LP on Sonar Kollektiv #euphoric mode on# yeah, i second that! Âme lp is very, very good, especially the tunes nia and hydrolic dog, both also out on 12. and they've done some very good remixes too: www.discogs.com/artist/%C2me also on hot rotation over here: moonstarr - detRIOT (sonar kollektiv 037) [i think this one has been mentioned before deep, epic track, superb breakdown, warm keys, excellent!] magnet/wighnomy bros. - kisskisskiss/wurzblosse (kompakt speicher 19) [both tracks sound like an hommage to maurizio/basic channel, magnet's track is a slow building minimal track, very danceable. wighnomy bros. come along with some lush filtered synths, echoed and dubbed out, perfect.] oh and...: did i already mention that wighnomy bros. are doing it every time, with every release? check' em out, they are incredible. imho, actually the best minimal/maximal/micro/macro-house/techno-producers around...:)! www.wighnomy-brothers.de #euphoric mode off# c.
RE: (313) new records
Check this out Alex. Sublime electronic sweetness LUDWIG ELBLAUS: Furious Styles (New Speak Sweden) This stuff has pooped my cork: 2 Dollar Egg - Naxo Cheese and Biscuits - Maurice Fulton remix I-Cube Frrzh - Maurice Fulton remix Larry Heard's LooseFingers on Alleviated Yeah baybee! Scuzz out -Original Message- From: Mike Melody [mailto:[EMAIL PROTECTED] Sent: 06 September 2004 18:23 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: RE: (313) new records I find this guys chart to be pretty informative when it comes to new music: http://basiclevel.com/charts.htm M From: [EMAIL PROTECTED] To: 313@hyperreal.org Subject: (313) new records Date: Mon, 6 Sep 2004 11:45:42 +0100 So, It's still months since I bought a new record (literally). Whats good? any opinions on any of the following? New Neroli (Domu?) New Ignitor New Juan on Metroplex what else is new/hot? _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring _ Dont just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/
RE: (313) [SPAM] Liverpool - Tfunkshun, 17/9/04
Feel honoured by his presence Tristan :) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 09:38 To: 313@hyperreal.org Subject: Re: (313) [SPAM] Liverpool - Tfunkshun, 17/9/04 Hey Hey. Nice one Tristan, I will try to make it along! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) Detroit Techno
Strings tug me (oo er) in every song I hear, not just Detroit, but I would say them for Detroit as thems the things that remain. But obviously Detroit is more than that. Detroit for me right now as I sup some more dirty vodka = Timeless techno that makes you wanna do stuff in life! Even write to a dude wearing a mask in Detroit that you never met, and say thanks. -Original Message- From: Martin Dust [mailto:[EMAIL PROTECTED] Sent: 07 September 2004 10:15 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) Detroit Techno I was thinking about this the other night and it often shifts in my mind but I'd say: Detroit: a) Strings b) Melody c) Funk d) Jacked e) Kick These are not in any order but I'd say the strongest one for Detroit is the strings, that's how a lot of people define it. I like all flavours but sometimes see little point in just copying...For me techno isn't about just joining the dots. Cheers Martin of? a) the hard industrial vibe hard music for a hard city? or b) the melodic mid-tempo beats of say, World to World, or Never On Sunday or something. Just wondering like.. I'm quite interested in what you think.
RE: (313) new records
-- Original Message -- From: Scott McGill [EMAIL PROTECTED] Cheese and Biscuits - Maurice Fulton remix I-Cube Frrzh - Maurice Fulton remix what are the labels on these? is cheese and biscuits the artist or the song title? Larry Heard's LooseFingers on Alleviated i cant say enough good things about the 2 acidy cuts on there. superminimal, supertweaked, supergood. i picked up that vinylmania double pack, the larry levan mix is totally the bomb. it sounds like its mastered from an old reel or maybe even a dubplate, so the sound quality is crappy in a good way. its so much funkier than all the other mixes on there, and sounds great with the channel level on the mixer in the red. a great great track. tom andythepooh.com
(313) Russ Gabriel
Anyone have contact details for Russ Gabriel? www.tfunkshun.com [EMAIL PROTECTED] +447855365601 +447273495
