Podcast appearances and mentions of Juan Atkins

Techno之书｜#01创世神Juan Atkins原作：Mark Petes-Varga编译：马海平/友好电波“那些跳舞的人，在听不见音乐的人眼里是疯子”—— 弗里德里希·尼采什么是Techno？这个问题，真的没有一个简单的答案。要用一个词或定义去概括Techno，几乎是不可能的。它究竟是什么？是用电子 合成器制作的四四拍舞曲吗？它是不是某种充满黑暗、反叛的地下文化的存在？还是那种只有在废弃的仓库、幽深的森林野外，或者是俱乐部人群中，才能真实体验到的氛围？我想，Techno的意义远不止这些。它的内涵远比一句简单的总结要深刻得多。作为一种音乐形式，Techno从最初在底特律的一个小房间里诞生，到今天已经成为全球无数地下舞池的灵魂。35年来，Techno深刻地影响并塑造了全球电子音乐的面貌。Techno并非一成不变。它经历了无数的变革、演变、融合、创新。然而，它的原始精神却从未改变。这种精神，如同电流在音符中流淌，依旧汹涌澎湃，贯穿至今。今天的我们，可能在不同的俱乐部、不同的城市中，感受到的是多种风格的融合。但每一次的舞池释放、每一次的节拍震动，背后依然藏着那份来自底特律的纯粹力量——那种反叛、自由、追求无限可能的精神。本期节目，我们将从最初的起点开始，带你深入揭开Techno的历史面纱，了解它的文化与演变。我们将打破关于Techno的种种误解与偏见，重新认识它的本质。因为，Techno不仅仅是声音的交响，它是一场跨越时间与空间的音乐革命。让我们一起踏上这段探索之旅，回到它的起源，追溯那份最初的力量。你将发现，Techno的魅力远远超出了人们的想象，它不仅仅是一种舞曲，更是一种改变世界的文化力量。而每一段动人的故事背后都有那些伟大的开创者。在Techno的历史长河中，底特律三杰无疑是最值得铭记的名字之一。如果你熟悉Techno，那么他们的名字早已回响在你耳边。如果你尚未接触过Techno，他们无疑是你进入这个伟大音乐运动的引路人。他们不仅塑造了Techno，也让这份力量超越了城市的边界，渗透进了全球无数电子音乐爱好者的灵魂。“如果没有他们，就不会有Techno。”Techno之书 第一章：Juan Atkins（开创者）今天我们要讲一个关于音乐传奇的故事，一个关于一切开始的故事，一个 Juan Atkins的故事——他不仅是底特律电子音乐的奠基人，更是现代电子音乐运动的开创者之一。Juan Atkins，生于1962年9月12日，来自底特律，一个并不起眼的工薪家庭。但是，从他在母亲子宫里的那一刻起，音乐就注定将与他一生紧密相连。Juan曾经回忆过：“我母亲告诉我，当她放某些歌曲时，我在她肚子里会有特别的反应。我只对那些喜欢的歌有反应。”从小生活在充满音乐氛围的家庭，Juan的父亲是一名本地理发师，同时也是一位经验丰富的中音萨克斯手。显然，音乐的基因在他的家庭中流淌着。Juan很早就接触到各类乐器，从低音吉他、电吉他到合成器，甚至是他祖母家那台古老的风琴。他说：“我从祖母那里获得了更多的音乐灵感。她有一台Hammond B3电风琴。每次我们去她家住时，她都会弹奏，主要是boogie-woogie风格。我常常在那台风琴旁边玩。” 正是这台风琴，让Juan第一次接触到声音合成技术。他意识到，电子乐器能创造出他能够想象的任何声音，而这种发现深深吸引了他，也为他日后的音乐生涯埋下了伏笔。随着年龄的增长，Juan的音乐热情愈加高涨。在十岁那年，他从父亲那里得到了一把吉他，并用自己的零花钱买下了第一张黑胶——Sly and The Family Stone的专辑。从那一刻开始，Juan的生活和音乐就紧密相连。青少年时期，Juan不仅在家里玩音乐，还和朋友们组建了Funk和Garage乐队，通过耳朵学会了弹奏各种乐器。他的才华被大家所认可，深受James Brown、P-Funk和Motown等经典乐队的影响，但很快，他的音乐旅程将迎来一场巨大的转变。正如Derrick May回忆的那样：“他是一位音乐人。从12岁开始，他的梦想就是成为一名音乐人，他知道自己最终会成为什么样的人。” 之后家庭出现了变故，在Juan的父亲被捕后，而这正是他音乐故事的转折点。Juan回忆道：“我们原本计划搬到加利福尼亚，但在最后一刻，我祖母打电话告诉我们：'他们在我这附近建了一座新房子。'祖母说服了父亲，最终我们决定留在底特律郊区。” 这个决定，不仅改变了他的生活，也改变了日后的故事 。正是在这座郊区新房子里，Juan的电子音乐之路开始启航。他的祖母全力支持他的音乐梦想，还为他购买了人生中的第一台合成器——Korg MS-10。这台合成器迅速迷住了Juan，他几乎每一天都在这台机器上练习，甚至发现了他可以操控白噪声，将其转化为鼓声。这一发现，彻底改变了他的创作方式，为他打开了全新的音乐世界。合成器瞬间成为了他创作的核心工具，Juan无论去哪里，都会带上它。他说：“合成器是这一切的催化剂。你从机器里听到的某些声音，会促使你去做某些事情。尤其是当你所有的节奏和打击乐都由这台机器做出来时。” 刚开始制作音乐时，Juan就利用这台合成器制作小军鼓、嗨帽声，所有的一切都通过滤波噪声、共鸣和调制来实现。这些看似简单的实验，逐渐构成了他独特的声音风格。随着时间的推移，Juan的音乐实验越发深入，他开始使用卡带机、混音台，并购买了自己的黑胶唱机。每一次新的尝试，都让他对电子音乐的热情更加强烈，逐渐形成了自己独特的音乐语言。贝尔维尔三杰，这个名字可能会让你联想到一个极具传奇色彩的组合——Juan Atkins、Derrick May 和 Kevin Saunderson。他们三人来自底特律郊区的一个小镇——贝尔维尔，一个看似平凡的地方，却成为了Techno的发源地。所以，贝尔维尔三杰这个名字，不仅仅代表着三位音乐天才的合作，也象征着底特律电子音乐的起源。Belleville Three: Kevin Saunderson, Derrick May和Juan Atkins那么，Juan Atkins和这两个未来的电子音乐传奇人物是如何走到一起的呢？其实，Juan是通过自己的弟弟Aaron认识了Kevin Saunderson和Derrick May。Kevin和Derrick比他小一到两岁，是他在高中时的同学。当时，Kevin和Derrick更多 地投入在体育活动上，而Juan则是一个安静、内向的学生，已经开始为自己的音乐事业打下基础。第一次见面时，Juan并没有展现出太多热情，然而，随着时间的推移，他们之间的友谊逐渐深化。值得一提的是，Juan Atkins对未来和科技的强烈兴趣，给了他无穷的创作灵感。他在高中时选修了一门课程——“未来学”（Future Studies），这门课的教材正是Alvin Toffler的《未来震撼》（Future Shock）。这本书讨论了快速变化的科技与社会变革如何让人类产生“未来震撼”的情感。Juan从中汲取了灵感，并将这种关于未来的思考注入到了他的音乐创作中。正是这种对技术和社会变革的兴趣，让他为电子音乐命名为“Techno”，因为在他看来，Techno正是技术和机器革命的产物。而实际上，Derrick May对此并不完全认同。Derrick May曾回忆道：“其实一开始我想把它叫做‘高科技灵魂'（High Tech Soul），我从来不喜欢‘Techno'这个名字。但最后没人同意，只好听大家的。”这个小插曲正好反映了三人之间的独特关系——他们虽然有不同的音乐观念，但却在共同的目标下，彼此互补，最终为世界带来了全新的音乐流派。Juan Atkins的音乐风格，深受德国电子实验乐队Kraftwerk、George Clinton的宇宙放克（Cosmic Funk）、Parliament Funkadelic以及底特律传奇电台DJ The Electrifying Mojo的影响。这些影响为他的音乐注入了创新和现代感，并且带来了更加深邃的音乐理念。Techno的诞生，就是这种多元文化的融合，它通过电子合成器和机器节奏，将技术与艺术、哲学与音乐结合，创造出了前所未有的声音。而在这个过程中，Juan不仅是音乐的探索者，他还成为了Derrick May的导师。两人之间的友谊，从一次国际象棋对局开始。当时，Derrick向Juan发起了挑战，却被Juan毫不留情地战胜。这场胜利不仅仅是一次简单的对局，更标志着他们首次深入讨论电子音乐的开始。自那时起，Juan成为了Derrick的导师，传授给他关于音乐、技术、甚至哲学的深刻理解。很快二人在当地的社区俱乐部开始打碟，并活跃在所谓的“高中派对场景”中，这些派对，主要是在一个名为“Deep Space”和另一个叫“Direct Drive”的派对之间展开竞争，场面火爆，观众们排长队，门票需要支付20到25美元，来的孩子们都为了寻找全新酷炫的音乐。正如Derrick May自己所说：“那些孩子们如果不喜欢一个DJ的 混音，根本不会跳舞。如果混音不对，或者DJ表现不行，他们就不会跳舞。Jeff Mills、我、Delano Smith、Mike Clark，我们都是从那个场景走出来的。我们在这个环境中长大，这就是今天我们所做一切的根源。”可以说，这个“高中场景”，不仅培养了他们的音乐风格，更塑造了他们对音乐的深刻理解。说到他们的“秘密武器”，不得不提那台Roland 808鼓机。这台机器对他们来说，简直是魔法般的存在。阿特金斯回忆：“我们带了一台808到派对上，为这台估计单独输出一轨来演奏节奏。”这台鼓机的加入，直接让现场气氛炸裂，观众们简直无法控制自己，而Direct Drive的对手们，则只能眼睁睁看着他们施展音乐“魔法”。808鼓机带来的声音，是那个时代前所未有的，也让他们的演出成为了一个无法被超越的标杆。Roland TR808 & TR 909鼓机我们说到的TR-808，TR-909鼓机，他们不仅仅是一个乐器，它在电子音乐历史上留下了不可磨灭的印记。它们帮助启动了一个全新的音乐运动——Techno，并为后来的酸性Acid House奠定了基础。其实，当时Derrick May遇到经济困难时，想将自己的一台TR-909鼓机卖掉，Jeff Mills知道后，想要以任何方式得到它，但Juan Atkins立刻劝他不要卖给Mills，因为那台909鼓机在技术上的优势，将转化为他们的竞争优势。所以，Derrick决定把这台909鼓机带到芝加哥，卖给了House音乐的教父——Frankie Knuckles。正是这场交易，间接促成了酸性Acid House的诞生。说回到Juan Atkins的创作，他不久后就称为了Cybotron乐队的创始人，这个组合的名字，至今在电子音乐界具有里程碑意义。高中毕业后，Juan 进入了Washtenaw县的社区大学，学习与电子音乐相关的技术。在那里，他遇到了同样是传奇DJ Electrifying Mojo粉丝和越战老兵Rick Davis。他们两人的合作，起初都是受到了对未来技术和电子音乐热情驱动。Juan曾回忆起第一次去Richard家中的情景：“我走进Rick的房间，简直被震撼到了。他有一台ARP Odyssey、ARP Axxe、Roland RS09弦乐合成器，还有一台早期的Roland Sequencer和Boss DR55鼓机。我只有我的小Korg MS10，当时简直觉得自己在进入一个外星飞船。” 这种视觉冲击和音效体验深深吸引了Atkins，他开始意识到，电子合成器不仅仅是工具，它们能创造出全新的声音世界。Juan Atkins也透露，这段时间他受到了Richard Davis的启发和引导，尤其是在音乐创作和商业运作方面。Juan说：“我想很多东西都与Rick的智慧和知识有关，他是一个非常聪明的人，比我大十岁，所以他对世界有更深的理解。他把哲学写进了歌曲里，他教会我许多东西，告诉我该注意什么，如何研究。” 这种跨越年龄和经验的合作关系，帮助Atkins从自学音乐制作的过程中，迈出了重要的一步。1983年，Cybotron发布了他们的首张专辑《ENTER》，并迅速成为底特律电子音乐的经典之作。这张专辑的音色和构思，充满了未来感、甚至带有某种超现实的氛围，正如Juan Atkins自己所说：“我一直觉得我们是比那个时代提前了20年。”Cybotron首张专辑《ENTER》专辑中的一些经典曲目，如《Cosmic Raindance》和《Dreammaker》，为电子音乐的早期发展带来了深远影响。但最具代表性的要属《Alleys of Your Mind》和《Clear》。展示了Cybotron无可替代的艺术视野。他回忆道，在创作过程中，Richard Davis给了他许多实用的音乐制作建议。他提到：“我读了很多书。其中一本书对我帮助最大，就是Richard推荐给我的，它叫《How To Make And Sell Your Own Record》。这本书几乎是独立唱片厂牌的教材，告诉你该如何一步步去做，如何制作专辑、如何销售，如何管理你的推广活动。” 这本书给了Juan Atkins建立自己的唱片公司——Deep Space Records的灵感，开启了他独立制作和发行音乐的事业。经过一段时间的合作，Cybotron不仅仅在底特律取得了巨大的成功，还受到了全球音乐爱好者的热烈追捧。1980年至1985年间，Atkins和Richard Day这对二人组发布了诸如《Clear》和《Cosmic Cars》等作品，这些都成为了电子音乐史上的永恒经典。随着时间的推移，Cybotron与Fantasy Records签约，并重新发行了他们的经典专辑《ENTER》，这也标志着他们的音乐进入了一个全新的阶段，开始在更广泛的领域内产生更大的影响。Cybotron的代表作之一，"Clear"，被广泛认为是电子音乐历史上的一座里程碑。这首几乎是纯电子的曲目，是Techno-pop与Electro的完美融合，为日后的Techno音乐风格定义了基础框架。它的未来感与实验性极强，几乎成为了电子音乐后来者的模板，也让Cybotron成为了那个时代最具创新性的音乐团体之一。然而，尽管他们的合作极大地改变了电子音乐的面貌，到了1985年，两人因对Cybotron未来方向和音乐理念的分歧而决定解散。尽管如此，Cybotron的影响力远超它的存在时长。作为Juan Atkins众多音乐身份之一，Cybotron无疑是最具影响力的，尤其对后来的Detroit音乐人和全球DJ们而言，Cybotron的声音仍然是灵感的源泉。它所创造出的外星音效至今无人能比，Cybotron的遗产依然历久弥新。尽管如此，Cybotron并未就此消失。经过了数十年的沉寂，Cybotron在2019年以audio visual演出的形式重新登上舞台，亮相于伦敦的Barbican文化中心，并且在巴塞罗那和阿姆斯特丹也举办巡演。新成员Laurens von Oswald与Tameko J. Williams的加入，使得这支传奇队伍焕发新生。2020年，Louis Vuitton Men's的创意总监Virgil Abloh和DJ Benji B也邀请Cybotron在Louis Vuitton 2020秋冬时装秀上进行现场表演。疫情过后，Cybotron在伦敦新开的The Beams仓库场地献上了一场震撼的现场演出，而2023年，Cybotron最终回到了他们的根源——底特律，并在Movement Festival上上演了他们的首次底特律演出。正如Mixmag的评价所说：“在2023年Movement Festival的周日晚，Juan Atkins与乐队新阵容庆祝了Cybotron的归来。这是他们的第六场现场演出，也是首度在底特律亮相。尽管演出中遇到了一些技术问题，但他们依然呈现了一场令人陶醉的表演，吸引了观众们驻足在主舞台，享受这一小时充满经典非洲未来主义的音乐，像《Clear》、《Cosmic Cars》和《Alleys Of Your Mind》这样的曲目，依旧光辉灿烂。”经过近30年的沉默，Juan Atkins于2023年发布了Cybotron的全新单曲**"Maintain The Golden Ratio"，这也是Cybotron自1985年后首度发布的新作品。而在2024年11月1日，"Parallel Shift”EP正式在德国厂牌Tresor发布，这张EP充满了科幻和未来感，正如Juan Atkins与Laurens von Oswald共同创作的这三首曲目所展现的那样——它们是对未来军事科技、超越时空的世界的探讨，同时也象征着人类意识和技术的深刻交融。Juan Atkins曾说：“Cybotron的名字随着时间的推移，已经成为了一种文化符号。”而如今，Cybotron以一种全新的方式继续吸引着全球的听众和音乐爱好者——这不仅是过去的回忆，更是未来的启示。尽管Cybotron的音乐显然更接近Electro风格，但它为Techno的诞生奠定了基础。随着Cybotron的解散，Juan Atkins并没有停下脚步，反而在1985年迅速转向个人音乐创作，并以Model 500的名义开始了自己的独立生涯。就在同一年，他成立了自己的传奇唱片公司——Metroplex Records，这也是他音乐事业的一个重要转折点。80年代中期Juan Atkins在工作室在那段创作时期，Juan Atkins几乎将自己锁在了房间里，专注于音乐创作，不允许任何人打扰。正如他自己所说：“我把自己锁在房间里，直到新专辑完成。我在那段时间里几乎没有离开过那间房，完全沉浸在创作中。”这种孤注一掷的创作态度，最终收获了巨大的回报。作为Model 500，他开始发布一系列经典的Techno作品，如《No UFO's》和《Night Drive》，以及1995年的专辑《Deep Space》。这一时期，他不仅发布了大量的专辑、EP和混音，还与比利时的R&S Records以及德国的Tresor等重要厂牌展开了合作。Juan Atkins回忆道：“当我在1985年2月或3月创办Metroplex厂牌并发布《No UFOs》时，我以为自己只是想回本，但最后销量竟达到了10,000到15,000张。”这一成功不仅证明了他对音乐市场的独特洞察力，也标志着Juan Atkins正式迈入了Techno音乐的世界，并为这个音乐流派带来了全球的关注。值得一提的是，Juan Atkins与Derrick May之间的友谊，对于两位传奇人物来说都是至关重要的。Derrick May几乎从Juan Atkins那里学到了所有关于音乐制作的技巧，而作为回报，Derrick则利用自己在芝加哥的资源，帮助Juan Atkins将他的音乐推广到底特律以外的世界。Derrick May曾这样回忆他们的友谊：“我基本上就像是他的门徒。他不让我做任何事，只让我坐着看。他是我的推广人，也是我的拉拉队员。我会四处去支持他，甚至亲自带着《Alleys of Your Mind》的首批45转唱片去唱片店，试图让它们播放给所有人听。”在Metroplex成立初期，Juan Atkins不仅专注于自己的创作，还通过自己的努力帮助了许多音乐人，包括Farley Jackmaster Funk，这是一位之后对house音乐史上的影响深远的音乐人。Atkins回忆道：“当我开始做Metroplex时，我把我最早的几张唱片带到芝加哥，其中就有《No UFO's》。我把这张唱片给了Farley Jackmaster Funk，他在芝加哥把这张唱片炒了起来，甚至让它比底特律还要火爆。” 这段话揭示了底特律与芝加哥之间的早期联系，虽然当时芝加哥还没有House音乐的出现，Derrick May和Juan Atkins等人开始将底特律的声音带到芝加哥，推动了这两个城市的电子音乐的交汇和发展。Juan Atkins继续说道：“那时芝加哥虽然已经有House音乐的雏形，但还没有House音乐，没人做 音乐。Derrick去到芝加哥，把我的唱片带给了Jesse Saunders，他几乎是做出第一张House唱片的人，还有Chip E这些人，他们开始在和Metroplex的同一时期里做出自己的唱片。可以说，形成了一种底特律和芝加哥之间的音乐场景交流。”Metroplex厂牌logo有了这一切的合作与交流，Atkins在Deep Space Soundworks的朋友们的帮助下，在底特律市中心创办了他们自己的俱乐部——Music Institute。正是在这里，贝尔维尔三杰成为了常驻DJ，并帮助了许多新兴的底特律Techno艺术家开启了职业生涯。这个俱乐部不仅是底特律Techno的发源地之一，更为后来被称为第二波底特律Techno的兴起铺平了道路。随着音乐的传播和影响力的扩展，Juan Atkins开始了全球巡演，尤其是在欧洲，征服了整个英国并启发/指导了一些英国的电子乐队如 '808 State'，他跨越英吉利海峡巡演——在法国、荷兰、瑞典以及传奇的柏林Tresor地下俱乐部演出。Juan Atkins回忆道：“我的风格就是Juan Atkins，我认为当人们预定我演出时，他们想要的就是我，他们想要的就是Juan Atkins。”Juan Atkins在Tresor表演特别是在德国，他第一次登上Tresor俱乐部的舞台后，他就成为了底特律和柏林联盟的奠基人之一。随着他与Tresor俱乐部创始人Dimitri Hegemann的深厚友谊，让Juan Atkins和底特律的声音成为了Tresor的代名词，成为了90年代初期Tresor的标志之一。在柏林的日子不仅让他成为了Tresor的常驻表演者，他还在那段时间与其他音乐人建立了重要的联系。在1990年代初期，一群来自柏林的音乐制作人开始频繁前往底特律，他们的目标很明确：购买大量的模拟合成器设备。经过一番搜索，这些设备被带回柏林，并且被重新改装，加装了早期的MIDI接口技术，虽然那时MIDI技术还没有广泛普及。Juan Atkins在2017年接受采访时回忆道：“那时，我和Mike Banks住在同一栋楼。有一天，Mike敲响我的门，告诉我‘嘿，这里有些来自柏林的人想见你'。然后是Mark、Moritz，还有可能是Thomas Fehlmann。他们说我们应该一起做音乐并去柏林演出，我就答应了邀请。我从未去过欧洲大陆，应该是1991年左右吧。所以，他安排了巡演 ，费用是通过在Tresor的演出费和我们以3MB名义发布的EP来支付的。”他们几个人因此组建了3MB feat. Magic Juan Atkins，要理解3MB的意义，你必须了解Tresor这个柏林俱乐部，它后来发展成了一个厂牌，成功将第二波底特律Techno的音乐人和作品带到了仍然处于柏林墙倒塌后动荡中的这座城市。底特律黑人的音乐找到了它在柏林的第二个家，而柏林的荒凉失去秩序的边缘感正与底特律的工业衰退历史不谋而合。你可以在Cybotron和Model 500的开创性作品中可以听到Juan Atkins那无与伦比的合成旋律；Moritz von Oswald对低音的偏爱，以及他对Dub音乐中Echo效果器的开创性实验；再加上Fehlmann的环境质感营造，这三种截然不同的电子音乐视角在Tresor风格的Techno的快速节奏下碰撞融合，最终形成了独特的音乐火花。他们的专辑展示了Techno是一个包容多元化的电子音乐品类。这种开放的音乐理念与今天已经偏向商业化的Techno大相径庭。3MB feat. Magic Juan Atkins，作为Tresor厂牌30周年庆典的一部分被重新发行，成为了这个柏林厂牌早期合作力量的巅峰之作。3MB的故事也在继续， 2024年5月，Tresor重新发行了他们在2017年的一张专辑,这张名为《Angles》的专辑包括两首曲目，其中《Concave 1》给人一种短小而深沉的感觉，低音线条伴随着回环的Dub和弦，在不同的衰退结构中游走。而第二首曲目《Concave 2》时长接近十分钟，感觉更温暖、更有机，充满了层次感和生命力。这张专辑再次证明了两位音乐家之间的合作是Techno历史上不可忽视的一部分。这种跨越大西洋的音乐对话，不仅塑造了柏林的Techno，也进一步加深了底特律与柏林之间的紧密联系。欢迎来到底特律TECHNO之城，诞生于1701年。尽管Juan接到了无数的合作邀请，并且被兴奋所淹没，他始终清楚一点：无论他在国外待多久，他都永远不会离开家乡——他出生并成长的地方“汽车城”底特律，他的家人至今仍然住在那里。而且，谈到电子音乐以及创作的源泉，底特律这座城市有着无与伦比氛围。他曾经说过“我拥有这种艺术天赋的责任之一，就是让人们听到它，并且能够参与其中。” 就像所有的天才一样，他总是走在时代前面，然而令人遗憾的是，底特律并不总是那么宽容地接纳他音乐。今天我们所称之为的Techno，在欧洲成为了巨大的文化现象，像野火一样蔓延开来，然而在美国，却几乎无人关注。Juan Atkins回忆道“我觉得我们在欧洲，尤其是在英国，得到了认可，而在全球范围内，逐渐产生了影响……而你怎么可能来自一个美国城市，那里这么少的人知道你在做什么？”尽管底特律起初未能理解这位先知的声音，但全世界都已悄然聆听，电子音乐的种子在世界的每个角落生根发芽。“Juan Atkins无论从哪个角度看，他都在音乐产业中留下了深刻的印记。”而他那习惯隐藏在化名背后的做法，也暴露了一个重要的细节：他不在乎追逐那种如今许多艺术家都渴望的“名声”。但如果说谁应该被称为科技音乐的教父，那无疑是他。正是因为他的存在，才为未来一代音乐人铺平了道路，让电子音乐走向了全新的面貌。2000年代初期，Juan Atkins依旧活跃在音乐圈，并且与许多杰出的艺术家合作——包括Moritz von Oswald、Kimyon Huggins和Orlando Voorn。他们的合作让一些经典之作诞生了，比如《Borderland》和《Mind Merge LP》。这些作品，无疑是那个时代的电子音乐的风向标。2002年，他发布了一张名为《Classics》的专辑。这是一张回顾性的作品，融合了他在Metroplex厂牌下的经典曲目，甚至还收录了No Ufo's的特别版remix，以及《Ocean to Ocean》和《Night Drive》这样的经典之作。然而，在这段时间里，Juan的生活却不那么顺利。他开始依赖酒精与其他物质，生活变得一团糟，连与家人的关系都开始破裂。更糟的是，他还被诊断出患有2型糖尿病，这一病情差点让他丧命。他回忆说“有一天我醒来，眼前一片模糊，几乎看不见自己手上的东西。我去看了医生，结果他们告诉我，血糖已经飙升到1200。我不知道英国是怎么规定的，但在美国，正常的范围应该是100到150。医生说，‘我们很惊讶你还能走路。'他们不得不给我打五瓶生理盐水，才把血糖拉下来，之后还给我打了几针胰岛素。”这些年里的低谷，几乎改变了Juan的一切。生活方式的改变，增重后的自律，使他逐渐恢复健康，而更重要的是，他重新找回了曾经的音乐激情。到了2005年，他迎来了音乐生涯的新高峰，他在Tresor发布了专辑《The Berlin Sessions》，并且同时推出了纪念Metroplex厂牌的双碟专辑《Metroplex 20 Years 1985-2005》。这两张专辑中，尤其有一首歌曲令人着迷——《Dreammaker》。这首曲目是他早期的Cybotron作品之一，从未发布，听上去有点像《Cosmic Raindance》，而且使用的还是那个经典的DR55鼓机。2006年，他在纪录片《High Tech Soul》中亮相，讲述了底特律Techno的起源与发展。之后他还与底特律三杰——Derrick May、Kevin Saunderson、以及Dimitri Hegemann,Richie Hawtin和Jeff Mills 一起，出现在2022年的纪录片《God Said Give 'Em Drum Machines》中。而在2007年，Model 500首次亮相底特律Movement电子音乐节（DEMF），现场反响热烈。2010年，Juan与R&S Records合作，发布了单曲《OFI》和《Huesca》。这张单曲，承接了他以往的音乐精髓，并且为他后来的音乐发展提供了新的方向。而在2012年，他又带来了专辑《Control》，这张专辑如同对他过往的一次总结。2013年，见证了两位音乐天才Juan Atkins与Moritz von Oswald的又一次重要合作，这次合作最终成就了一张名为《Borderland》的专辑。Moritz von Oswald和Juan Atkins(摄影：Jack Johnstone)来自柏林的电音媒体Resident Advisor报道“梦之组合的定义莫过于此。Juan Atkins和Moritz von Oswald这两位艺术家，完美诠释了底特律与柏林音乐轴心精髓。虽然他们之前有过合作，但《Borderland》是他们的第一张正式合作专辑。这张专辑是在今年年初在柏林录制的，它大大偏离了传统的Techno音乐，而是更倾向于Moritz von Oswald三重奏那种温暖、即兴的风格。融合了爵士的流动宁静与Dub的深沉共鸣，《Borderland》是一场放松的音乐体验，旨在通过柔和的低音线条营造烟雾般的氛围，引导听者进入一种深沉的恍惚状态。”专辑由8首曲子组成，完美融合了两位大师的风格。这些作品是在2013年初的柏林多个录音室中完成的，随后以三张12寸黑胶和一张CD的形式发布。2015年，Juan Atkins通过自己的Metroplex厂牌带来了他时隔16年的第一张Model 500专辑——《Digital Solutions》，这张专辑就像一部Techno音乐的时光机，带我们回到了那个曾经的黄金时代，同时也让我们看到这位艺术家如何在过去的经典与未来的黑暗之间游走。“《Digital Solutions》像是一套铝箔太空服，既闪亮又老派。”这句话是由Resident Advisor的乐评人Paul Clarke写的，他提到，虽然专辑的制作非常精致，但它的未来感却显得有些过时。就像科幻电影一样，曾经的未来充满了《星际迷航》那种乐观的空间梦想，而现在的《异形》却是充满了冰冷与压迫感。在他的音乐里，我们仿佛也能听到这种变化——从他过去的明亮科技梦，到今天更阴暗、更多层次的声音。这张专辑，大部分的声音都像极了他早期作品《No UFO's》那种硬朗的电子质感，甚至比他的1999年专辑《Mind And Body》还要复古——它抛开了那些灵魂与科技的融合，回到了1980年代中期那种纯粹的机器人Funk风格。记得《Night Drive (Thru-Babylon)》吗？如果你听《Control》，你会发现它像是从那首歌中分出来的兄弟。但这不是坏事，反而是好事。毕竟，很多艺术家一生都在努力复制Model 500的经典声音，而Juan Atkins自己做到了，且做得相当成功。专辑中有一首叫做《Encounter》，它的低频震动让人感受到作者与低音电子音乐风格之间的微妙联系，但最令人印象深刻的，还是它那富有电影感的弦乐与细腻的层次感，让人不禁回想起《Urban Tropics》那样的经典之作。而另一首“Hi-NRG”，则带给人强烈的Galaxy II Galaxy风格，让我们再次看到底特律先锋音乐的深度和广度。还有《The Groove》中的吉他独奏——那段旋律让你完全忘了自己听的是一张电子专辑，而更像是在听一个摇滚吉他手在舞台上狂放不羁的演出。Juan Atkins显然是在用这种方式告诉我们：他虽然已经不再年轻，但他依然能在怀旧的旋律中为我们带来不一样的体验。”“我不是为了钱做这件事。我是为了对艺术的热爱。”这样说道。有一次，他被问到，是否为自己创造的音乐流派——Techno的发展感到骄傲。他的回答很直接：“现在的Techno吗？对我来说，它更多的是一个市场营销的概念，我已经不再适应这种方向了。”他说，每个硬币都有两面，他并不批评那些选择了商业化道路的人，只是他永远无法去演奏那种类型的音乐——EDM和所谓的“商业Techno”。他的这番话，透露出一种他对音乐的坚定与热爱。尽管现在的电子音乐世界变化万千，但他坚信，音乐不应仅仅是为了迎合市场的需求，更应该是对艺术的真实表达。然而，他并没有一直顺风顺水。2015年，命运给了他一个巨大的挑战——他因严重的健康问题被迫取消了几场国际演出。实际上，他一直在与肾脏衰竭作斗争，这一切源自于他多年来的糖尿病。他在一份公开声明中向粉丝们道歉，表示：“过去几个月，我一直有严重的健康问题，这些问题现在让我无法继续巡演。我正在努力在未来几个月解决这些问题。我很难过不能去澳大利亚，但我希望不久后能回来。”但是，生活就是这样，不会轻易让你放弃你热爱的东西。即便在最艰难的时刻，Juan Atkins依然没有停止过对音乐的热情。为了继续他的音乐之旅，他甚至带着必需的设备进行腹膜透析治疗。在短暂的恢复后，他重新回到了舞台，继续在柏林、伦敦、梅德林和多伦多等地演出。“没有套路的公式，这里只有声音。这就是我感受到的、我听到的。无论我受到的影响来自哪里，可能来自我在母亲肚子里听到的那些声音。那些 生命中听到的所有挫折与变化，都反映在我的音乐里。”这就是世界上第一个Techno音乐人Juan Atkins的故事，他的故事还在继续！©️版权声明 “Techno之书”系列节目（包括音频，视频和文稿）版权归马海平、友好电波与 Mark Petes-Varga 所有。非商业用途可在注明出处的前提下分享与引用，但禁止任何形式的商业使用，未经授权的商业使用将依法追究责任。Track-List01.Cybotron - Clear02.Infiniti,Juan Atkins - Flash Flood (Function Remix)03.Sly & the Family Stone - Dance to the Music04.James Brown - Make It Funky, Pt. 105.Juan Atkins - Starlight06.Kraftwerk - The Robots (2009 Remastered Version)07.George Clinton - Computer Games08.Frankie Knuckles - The Whistle Song09.Donna Summer - I Feel Love10.Cybotron - Alleys of Your Mind11.Cybotron - Cosmic Cars12.Cybotron - Clear13.Cybotron - Cosmic Raindance14.Cybotron - Maintain15.Cybotron - Parallel Shift16.Juan Atkins - No UFO's17.Jesse Saunders - 119 (1984)18.808 State - Pacific 20219.Juan Atkins - Die Kosmischen Kuriere20.Juan Atkins,Moritz von Oswald,Borderland - Concave 121.Juan Atkins,Moritz von Oswald,Borderland - Concave 222.Orlando Voorn,Juan Atkins,Frequency - Beyond the Beyond23.Model 500 - Ocean to Ocean (Instrumental)24.Juan Atkins - Session 125.Juan Atkins - Dreamaker26.Model 500 - OFI (Synkro's slow jam mix)27.Model 500 - Control28.Juan Atkins,Moritz von Oswald,Borderland - Footprints29.Model 500 - Digital Solutions30.Model 500 - The Groove31.Juan Atkins - Nightdrive (Thru Babylon)

Le DJ et producteur américain Juan Atkins, légende de la techno de Detroit

Aujourd'hui, ce n'est pas un jour tout à fait comme les autres dans la petite histoire de Tsugi Radio… Tsugi Radio, webradio du magazine Tsugi, démarrée en octobre 2015 avec un ordinateur, beaucoup de rêves, pas beaucoup de moyens et zéro business plan… Nous avons grandi, avons ouvert un studio dans la Folie L1 du Parc de la Villette, avons agrandi les équipes, sans rien changer à notre passion de découvrir des artistes et de la nouvelle musique, à notre envie de parcourir les festivals inlassablement, jusqu'à 32 en 2025. Mais aujourd'hui, Tsugi Radio, n'est plus seulement une webradio. À Paris, en région parisienne, à Nice, Cannes et Marseille, depuis ce matin, vous pouvez écouter Tsugi Radio en DAB+. Qu'est-ce que le DAB+, et bien c'est la radio numérique, qui est appelée prochainement à remplacer la FM, comme la TNT a remplacé la télévision hertzienne. Pour nous écouter en DAB+, il faut une radio DAB+, il en existe de toutes les gammes et pour toutes les bourses. Et sachez que les voitures commercialisées depuis décembre 2020 en France en sont obligatoirement équipées. Nous avons toujours considéré Tsugi Radio comme une vraie radio, même si elle n'était disponible que sur le web. Mais c'est aujourd'hui sans doute encore un peu plus vrai qu'hier. Indépendance, c'est la valeur cardinale que le festival Nuits Sonores défend ardemment depuis 23 ans à Lyon… ce qui n'est pas sans présenter son lot de challenges. Mais l'événement lyonnais parvient à résoudre cette impossible équation avec élégance et curiosité. En mettant à l'honneur des artistes ukrainiens, colombiens, en accueillant le soundsystem de la légende Mad Professor, mais aussi avec Juan Atkins, Leftflied, 808 State, Anetha, Kittin, Four Tet et toujours ce soutien à la scène et aux collectifs locaux. Aujourd'hui dans Place des Fêtes, on va passer un coup de fil à Pierre Zeimet, un des programmateurs de Nuits Sonores. Au programme aussi la cabine des curiosités de l'ami Alexandre Berly qui viendra nous expliquer la différence entre phaser et flanger pour celleux d'entre vous qui aiment triturer les effets sonores. Pour les autres qui préfèrent la lecture, on a rendez-vous dans l'espace littéraire avec Nicolas Jalageas, notre libraire des Cahiers de Colette. Hier une drôle de faune se dirigeait vers l'Accor Arena de Bercy. La messe un dimanche soir pour les fans d'indie music de tous âges avec le concert de l'Australien, Kevin Parker, plus connu sous le nom de Tame Impala. Grosse scéno avec des barres de lights multicolores, motorisées dont les mouvements et les lasers n'étaient pas sans rappeler la scénographie de la dernière tournée de Justice ou le duo avec Lewis, leur ingé light historique, qui est devenu une influence pour d'autres, comme on se le disait hier soir avec Pedro Winter. Si Pedro était là, c'était bien sûr parce que dans la surenchère de proposition que sont devenus ces grands concerts, il fallait bien une tête d'affiche française pour faire la première partie de Tame Impala. Xavier et Gaspard, aux platines pour un megamix puissant et généreux avant pour le premier titre du rappel de monter sur scène pour jouer Neverenderrer, un des deux featurings de Kevin Parker sur leur album, Hyperdrama. Un dimanche soir comme on les aime. TAME IMPALA "Dracula (JENNIE remix)" 808 State "Pacific State" THE LEMON TWIGS "Look For Your Mind" THE HAUNTED YOUTH "deathwish feat. Max Fry" CLARA KIMERA "God Complex" MADONNA & SABRINA CARPENTER "Bring Your Love"

Terrence Dixon doesn't do many interviews. So when the enigmatic Detroit producer agreed to speak to Line Noise around the release of his new EP for Tresor, When Stars Remember, we jumped at the chance. In a very sweet interview, we talked about his history with Tresor, the power of extreme repetition, falling asleep to your music, his grandmother's love for Kraftwerk, Juan Atkins, Mike Banks, not reading manuals and so much more. Line Noise comes to you with the support of Cupra. Picture by Evan Zott.

Terrence Dixon doesn't do many interviews. So when the enigmatic Detroit producer agreed to speak to Line Noise around the release of his new EP for Tresor, When Stars Remember, we jumped at the chance. In a very sweet interview, we talked about his history with Tresor, the power of extreme repetition, falling asleep to your music, his grandmother's love for Kraftwerk, Juan Atkins, Mike Banks, not reading manuals and so much more. Line Noise comes to you with the support of Cupra. Picture by Evan Zott.

One of the enduring powerhouses of our era returns for RA.1000 with a riotous mix. When Helena Hauff made her first RA Podcast appearance back in 2013, she was on the eve of releasing her debut production on Actress' Werkdiscs imprint. In the 12 years that have elapsed, she's become not just a household name within electronic music, but the kind of rare talent that lives in seclusion from industry tumultt. (Hauff, enviously, has never even owned a smartphone.) Her calling card continues to be her penchant for rough and ready EBM, electro and new wave. Her unique ability is creating a singular listening experience from disparate or out-of-favour tracks, with a raw immediacy that functions as a redress to over-choreographed modern DJing. Her outsider approach is on show once again for RA.1000. Threaded together by strobe-lit DIY electronica, old-school acid house and corrosive machine funk that chews up the ear, the nearly two-hour set raises the bar once again. In the sci-fi themed first half, Hauff drops two Cybotron tracks, nodding to Juan Atkins' blueprint for electro. You'll also hear "Riot" by Underground Resistance, the definitive mission statement for a world ablaze. This is musical anarchism, executed to the highest degree. Find the tracklist and interview at ra.co/podcast/1017. Listen to all RA.1000 mixes, as well as the complete history of the RA Podcast, at 1000.ra.co

I stjärnbilden Pegasus ligger en hop med kolliderande galaxer som skapar gravitationsstörningar och instabilitet. En form av galaktisk kannibalism. Lyssna på alla avsnitt i Sveriges Radio Play. De olika galaxerna dras allt närmare varandra, och efter ett antal sammandrabbningar kommer de att gå samman i en enda gigantisk galax.I den sjätte och sista delen om George Clinton blir P-funkens massiva inflytande på populärmusiken uppenbar. När många trodde att P-funken var död gav hiphop den ett nytt liv. Parliament/Funkadelics status var redan hög bland Detroits technogarde. Bernie Worrells lir i nummer som ”Flash light” och ”Unfunky UFO” fick Juan Atkins att spela funk på synthesizers, och så föddes techno. Dr. Dre byggde sin ljudvärld på P-funk. Digital Underground hittade sitt lustig sväng, och Andre 3000 i Outkast fann friheten.Vid sidan om möten med George Clinton innehåller avsnittet bland annat bitar från Mats Nileskärs intervjuer med Bernie Worrell, Garry Shider, Gary ”Mudbone” Cooper, Bootsy Collins, Malia Franklin (Parlet), Andre 3000, Afrika Bambaataa, Juan Atkins, Paris, James Brown, Abdul ”Duke” Fakir (Four Tops), Money-B (Digital Underground), Flying Lotus och Channel Tres.

Von den Maschinenhallen Detroits und den Bunkern Berlins: Woher kommt Techno? Und wie politisch ist er? Es ist der Niedergang der Autoindustrie und die Erfahrung der repetitiven Fließbandarbeit, die schwarze Künstler in den 80er Jahren in Techno verarbeiten. Warum blüht die Szene besonders in Ostdeutschland nach der Wende auf? Und was haben die Love Parade, Fuck Parade und das Fusion Festival mit all dem zu tun? Bei einer Live-Aufzeichnung auf der Fusion im conTent sprechen wir über Techno als Musik, Subkultur und politische Bewegung.Vielen Dank an die conTent Crew, die vielen Menschen, die ihre Stimmen zu dieser Folge beigetragen haben und die 250 (!!!!!) Leute, die live zugehört haben. Wir sind ganz verliebt in euch!!Quellen:Doku über Detroit "Techno City" (2000): https://www.youtube.com/watch?v=a2gr73FQ9-sJuan Atkins & Kraftwerk 2016 in Detroit: https://www.youtube.com/watch?v=sPePjLiCcH0Doku über die Entstehung der Fusion: https://kulturkosmos.de/Black Bottom: https://mirrornews.hfcc.edu/news/2016/02-22/remembering-black-bottom-and-paradise-valleyNYT über Kraftwerk: https://archive.nytimes.com/www.nytimes.com/library/music/061500dj-kraftwerk.htmlGullah Music wurde in der Folge nur kurz erwähnt, hier noch mehr Hintergrund dazu und wie afroamerikanische Kämpfe der Vergangenheit sich in Musik wiederspiegeln: https://www.youtube.com/watch?v=S1HEZJLDjaw&list=PLt1xxw1-jnu3CnVsNkqxefQvc9bS6ZQq4&index=4Das Episodenbild zeigt Juan Atkins in den 1980er Jahren: https://www.soundonsound.com/techniques/classic-tracks-model-500-no-ufosSupport the showSchickt uns Feedback an hallo-gkw@riseup.net Abonniert unseren Telegram-Kanal @linkegeschichte um die Fotos zu sehen und keine Folge zu verpassen: https://t.me/linkegeschichte Folgt uns auf Instagram: https://www.instagram.com/linkegeschichte/Unterstützt diesen Podcast mit einer Spende: https://steadyhq.com/de/linkegeschichte/about

durée : 01:27:59 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Au début des années 1980 émerge à Detroit une révolution musicale qui donne naissance à la techno. En 2000, "Surpris par la Nuit" donne la parole aux acteurs de cette révolution. Jeff Mills et Juan Atkins, entre autres, racontent comment et où ils ont puisé leur inspiration. - réalisation : Massimo Bellini - invités : Juan Atkins; Jeff Mills Musicien; Richie Hawtin; Carl Craig

“God said, give 'em drum machines—and see what happens.” That's the dream Mike Huckaby shared, and it's the heartbeat of God Said Give 'Em Drum Machines, the acclaimed documentary by Detroit filmmaker Kristian Hill that restores techno's true story—deeply rooted in Black Detroit creativity, culture, and resilience. “We had a grocery store on Hastings Street. My grandfather ran numbers,” Hill recalls, grounding his storytelling in generations of Detroit legacy, from his grandmother Mabel White teaching home economics at Kettering and cooking for Aretha Franklin, to DJing with friends like Al Ester and parking cars outside Cheeks while legends like Jeff Mills and Stacey Hale spun inside. The film traces the untold journey of techno's pioneers—Juan Atkins, Kevin Saunderson, Derrick May, Eddie Fowlkes, Blake Baxter, and Santonio Echols—as Hill and his team follow the music from Detroit to Amsterdam, Japan, South Africa, and even Nizhny Novgorod, Russia, where locals called it “the Detroit of Russia” and clubs pulsed with Detroit's sound. “We got the stars,” Hill says, referring to the Belleville Three and others, “but nobody ever tells the story.” Fueled by years of footage and shaped in long, late-night edit sessions, the documentary is not only a cinematic reclaiming of techno's Black roots but a personal odyssey of creative purpose. “It's not just a link. It's an experience,” Hill emphasizes, reminding audiences that this is more than a movie—it's Detroit history set to a beat that moved the world. Detroit is Different is a podcast hosted by Khary Frazier covering people adding to the culture of an American Classic city. Visit www.detroitisdifferent.com to hear, see and experience more of what makes Detroit different. Follow, like, share, and subscribe to the Podcast on iTunes, Google Play, and Sticher. Comment, suggest and connect with the podcast by emailing info@detroitisdifferent.com

Chris sits down with dance music producer and DJ Kevin Sanderson to discuss his life and career from his early years in New York to moving to Michigan through to teaming up with Juan Atkins and Derrick May in the Belleville Three. How to DJ is a Listening Dog Media production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1994, Fuse opened its doors on the Rue Blaes in downtown Brussels. From early on, this nightclub attracted Detroit techno pioneers Carl Craig, Jeff Mills, and Juan Atkins and cutting-edge French innovators like Laurent Garnier and Daft Punk. Over time, Fuse became one of the most important clubs on the European techno scene and, to celebrate its 30th birthday last year, Koen Galle published Fuse: 30yrs Of Making Noise (AfterClub, 2024). In this recording of a live event, Galle talks to Simon Taylor about the glory days of Fuse and what has made it one of the longest-surviving clubs in Europe – outlasting and predating more famous venues like Trezor and Bergheim in Berlin. Formerly a DJ, Koen Galle founded publishing house AfterClub to uncover stories about Belgium's rich electronic music culture and nightlife.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1994, Fuse opened its doors on the Rue Blaes in downtown Brussels. From early on, this nightclub attracted Detroit techno pioneers Carl Craig, Jeff Mills, and Juan Atkins and cutting-edge French innovators like Laurent Garnier and Daft Punk. Over time, Fuse became one of the most important clubs on the European techno scene and, to celebrate its 30th birthday last year, Koen Galle published Fuse: 30yrs Of Making Noise (AfterClub, 2024). In this recording of a live event, Galle talks to Simon Taylor about the glory days of Fuse and what has made it one of the longest-surviving clubs in Europe – outlasting and predating more famous venues like Trezor and Bergheim in Berlin. Formerly a DJ, Koen Galle founded publishing house AfterClub to uncover stories about Belgium's rich electronic music culture and nightlife.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In 1994, Fuse opened its doors on the Rue Blaes in downtown Brussels. From early on, this nightclub attracted Detroit techno pioneers Carl Craig, Jeff Mills, and Juan Atkins and cutting-edge French innovators like Laurent Garnier and Daft Punk. Over time, Fuse became one of the most important clubs on the European techno scene and, to celebrate its 30th birthday last year, Koen Galle published Fuse: 30yrs Of Making Noise (AfterClub, 2024). In this recording of a live event, Galle talks to Simon Taylor about the glory days of Fuse and what has made it one of the longest-surviving clubs in Europe – outlasting and predating more famous venues like Trezor and Bergheim in Berlin. Formerly a DJ, Koen Galle founded publishing house AfterClub to uncover stories about Belgium's rich electronic music culture and nightlife.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

E ae!Welcome to Deep Space Podcast - 15 years! Many thanks for listening. One more episode on early access to Spatial Listeners! It's out now week492 featuring 2nd hour exclusive guestmix by DJ ZEB K (Michigan, USA). Welcome to the podcast once again and thanks for the second exclusive guest mix, bro!Zeb is digital content manager and co-founder from Depth Charge Sessions.Please check all the links to Zeb at:https://www.twitch.tv/djzebk/about Subscribe now for early access to every episode plus for watching the Zeb's video recording mix on the exclusive page:https://deepspacepodcast.com/subscribe Enjoy the week492! Playlist:Artist – Track Name – [Label] 1st hour mixed by Marcelo Tavares1) LAAK - Obsolescence - [Austere]2) Fred Everything - Moonrise - [Lazy Days]3) Moonee - Interpretations - [Omena]4) Luvless - Set Adrift - [Tsuba]5) Ritz - Tomorrow Is Today's Dream (Lo-Fi Mix) - [Piston]6) Juan Atkins & Moritz von Oswald present Borderland - Zeolites - [Tresor]7) Till Von Sein - Keni - [Tilly Jam]8) DaRand Land - Remember The Violets - [Island Issues]9) Stimulator Jones - Night Walk - [Star Creature]10) Interesnye Oschuscheniya - Prosnutsia - [Minor Notes]11) Alex Attias - Perpetual Motion - [Visions]12) Groove Gorynych - Infinite Attraction - [ECOUL SND]13) Benjamin Fröhlich - Changing Energy - [Permanent Vacation] 2nd hour exclusive guestmix by DJ Zeb K (USA)1) Thabang Baloyi - Greyout - [Just Move]2) Mc4Len - Falling - [Just Move]3) Home-Mad Djz - The Power Of GOD - [Selville]4) Clive Arsene & Slctvtones - Expressions (Napsoul Magic Dub Mix) - [Deep Clicks]5) KIDPLUGG - Waterhunt - [Jive Afrika]6) Z.E.N - Shaori (Deeper State) - [Just Move]7) MKJay SA - One Life To Live - [Deep House Cats SA]8) Thabang Baloyi - CSS - [Just Move]9) Mc4Len - Lazy Saturday Afternoon10) Kamosoul - Shadow Warfare (Original Mix) - [DeepHouseCyphers]11) Synth-O-Ven - Enter The Digital (Digital Feel) - [Deep House Cats SA]12) Radic The Myth - Repture - [Laboria Park]13) Manu - Lazy Chords (Original Mix) - [DeepWit]14) The Great One Lose Beles - Bond (Original Mix) - [Ofiamar]15) Thabang Baloyi & Thabang Phaleng - OH! - [Just Move]16) Slctvtones - Keep On Keepin On (Original Mix) - [Deep Clicks]17) Thorne Miller - Just Stay - [Just Move]

With Peter Duggal & collaborators U96, Boris Blank, Thomas Vangarde, Juan Atkins, Anthony Rother, Emil Schult, Peter Hook! More interviews at http://www.popthehistorymakers.comWolfgang Flür, former member of Kraftwerk, who has worked with collaborator Peter Duggal since 2015, is set to release his new album, Times, on March 28, 2025, and a new single with Juan Atkins - the Detroit godfather of Techno, on Tuesday 11th March.If you want to watch this on YouTube go here;Wolfgang Flür drops TIMES. Massive electronic names work with ex-Kraftwerk drummerhttps://youtu.be/uXetTet3kJUTrack Listing;POSH (featuring Juan Atkins) Released Tuesday 11th MarchPLANET IN FEVER (featuring U96 & Emil Schult)CINEMA (featuring Fabrice Lig)FAR AWAYFUTURE ONE (featuring NEWMEN)ÜBER_ALL (featuring Peter Hook & Thomas Vangarde)MAGAZINE (Imppu Rework)PROPERTY (featuring Anthony Rother)TIMESGLOBAL YOUTH (featuring Boris Blank & Emil Schult)SEXERSIZER (featuring U96)HILDEBRANDLIED (featuring U96)MONDAY TO THE MOON (featuring Peter Hook & Thomas Vangarde)Times reflects Flür's evolution, blending his electronic roots with contemporary influences. Hosted on Acast. See acast.com/privacy for more information.

The 2024 Not A Diving Podcast Pledge Drive is now live!Sign up to the Musicality Tier on Patreon by Monday 16 Dec and receive a Not A Diving Club t-shirt!Thank you for your support, it makes this podcast possible. ---We've had a few legends of dance music on the show, but this week we welcome our first member of the Belleville Three.Along with Juan Atkins and Derrick May, Kevin Saunderson crested the first wave of Detroit Techno and birthed a global movement that persists to this day. Under his own name as well as a plethora of alias and groups including Inner City and E Dancer, Kevin made some of the most important tracks of any era of dance music.So of course this is an exciting episode. We talk about the forthcoming E Dancer record, working with his son who is now a member of that group as well as Inner City, as well as getting deep into the early era as well as his breakout success with Inner City.This is a great episode, you're going to love it. If you're into what we're doing here on the pod then you can support the show on Patreon! There are two tiers - "Solidarity" for $4 a month, which features the show without ads, regular bonus podcasts, and extra content. And "Musicality" which for a mere $10 a month gets you all the music we release on Hotflush and affiliate labels AND other music too, some of which never comes out anywhere else.You can also make a one-off donation to the podcast using a card, with Paypal, or your Ethereum wallet! Head over to scubaofficial.io/support.Plus there's also a private area for Patreon supporters in the Hotflush Discord Server... but anyone can join the conversation in the public channels.Listen to the music discussed on the show via the Not A Diving Podcast Spotify playlistFollow Scuba: twitter instagram bandcamp spotify apple music beatport Hosted on Acast. See acast.com/privacy for more information.

durée : 01:28:02 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Au début des années 1980 émerge à Detroit une révolution musicale qui donne naissance à la techno. En 2000, "Surpris par la Nuit" donne la parole aux acteurs de cette révolution. Jeff Mills et Juan Atkinson, entre autres, racontent comment et où ils ont puisé leur inspiration. - réalisation : Massimo Bellini - invités : Juan Atkins; Jeff Mills Musicien; Richie Hawtin; Carl Craig

I stjärnbilden Pegasus ligger en hop med kolliderande galaxer som skapar gravitationsstörningar och instabilitet. En form av galaktisk kannibalism. De olika galaxerna dras allt närmare varandra, och efter ett antal sammandrabbningar kommer de att gå samman i en enda gigantisk galax. Lyssna på alla avsnitt i Sveriges Radio Play. I den sjätte och sista delen om George Clinton blir P-funkens massiva inflytande på populärmusiken uppenbart. När många trodde att P-funken var död gav hiphop den ett nytt liv. Parliament/Funkadelics status var redan hög bland Detroits technogarde. Bernie Worrells lir i nummer som ”Flash light” och ”Unfunky UFO” fick Juan Atkins att spela funk på synthesizers, och så föddes techno. Dr. Dre byggde sin ljudvärld på P-funk. Digital Underground hittade sitt lustiga sväng, och Andre 3000 i Outkast fann friheten.Vid sidan om möten med George Clinton innehåller avsnittet bland annat bitar från Mats Nileskärs intervjuer med Bernie Worrell, Garry Shider, Gary ”Mudbone” Cooper, Bootsy Collins, Malia Franklin (Parlet), Andre 3000, Afrika Bambaataa, Juan Atkins, Paris, James Brown, Abdul ”Duke” Fakir (Four Tops), Money-B (Digital Underground), Flying Lotus och Channel Tres.

Réécoutez l'Happy Hour DJ de Luuk Van Dijk du mercredi 16 octobre 2024 Tracklist : 01. Man-D.A & Keyb T. - House Music (LVD Edit)02. Jovonn & DJ Deep - Back in the Dark03. Visions ft Juan Atkins & Dianne Lynn - Is This Real? (Obsessive Club Mix)04. ??? - Midnight Show (Chris Stussy Edit)05. Luuk van Dijk - Aqui Con Migo (Youandwan Remix)06. S.A.M - Forever Rhodes07. Avon Stringer - Ron Hardy08. Halo - Primitive 09. D'Influence - Hypnotize (M.A.W. Piano Dub Mix) [CLOSE TO ME]10. Stacy Kidd - Jammin' (Luuk van Dijk Edit)11. Dina Carroll - Express (Xpressed Dub)12. Marius Acke - Tell Me - CrucialTraxx 213. Fabien D'Estival et Gregory - Am I Liked?14. Movin' Souls - Non Stop Jugglin' (Hey Gringo) (Original Club Version)15. Smart Alex - Mystery Black Notes16. MK All Stars - Bohemian Rhapsody (LVD Edit)

Linda Štepničková byla už od devadesátých let jednou z nejznámějších dýdžejek v Česku. Bývalá modelka a tanečnice se k elektronické taneční hudbě dostala během svého pracovního pobytu ve Švýcarsku už v polovině 90. let a velmi záhy se postavila i za dýdžejský pult. Podařilo se jí tak zachytit tu nejmasivnější vlnu zájmu o dýdžejskou kulturu, která vrcholila na konci 90. a začátku 00. let a své sety hrála doslova po celém světě. Včetně legendární berlínské Love Parade nebo velkých open air festivalů. Pod jménem Ladida pak vydala i několik alb a singlů především v žánru techno, který ji byl vždy z elektronické hudby nejbližší. O svých vzorech jako Derrick May, Juan Atkins nebo Carl Cox, s některými z nichž se i pracovně potkala, ale také o tom, proč už dnes nehraje striktně pouze z vinylů, hovořila v dalším On Air. Podívejte se na celý rozhovor. ON AIR je talk show hudebního publicisty Pavla Kučery s hudebníky a lidmi z hudební branže. Nový díl je uveřejněn každý týden na YouTube kanálu kytary.cz. Facebook: https://www.facebook.com/onairtalks Přehled starších dílů zde: http://bit.ly/VsechnyOnAirRozhovory Starší díly On Air si můžete poslechnout i ve formě podcastů zde: Spotify http://bit.ly/OnAirRozhovorySpotify Apple Podcasts https://podcasts.apple.com/cz/podcast/on-air #rozhovor​ #ladida #techno

Scopri la storia affascinante della musica techno nel nostro ultimo episodio di "Spazio d'Arte". Esplora le radici del genere a Detroit negli anni '80 con i pionieri Juan Atkins, Derrick May e Kevin Saunderson, e segui il viaggio della techno attraverso l'Atlantico fino ai club di Berlino e Londra. Approfondiremo anche la scena techno italiana, con un focus su Roma e Torino, città che hanno abbracciato e trasformato questo genere musicale con eventi leggendari e festival iconici come il Kappa FuturFestival e il Movement Torino Music Festival. Unisciti a noi per un viaggio sonoro che celebra la creatività, l'innovazione e l'energia della musica techno.

The PUTF Show - Episode 18 / TYGAPAWInstagram: https://www.instagram.com/pickuptheflownyc/TikTok: https://www.tiktok.com/@pickuptheflow https://putf.substack.com/TYGAPAW grew up as Dion McKenzie in Mandeville, Jamaica. Today, the Artist,producer, DJ and label owner resides in Brooklyn, New York, where they have spent thebetter part of a decade uplifting frequencies representative of the Black electronic musicdiaspora. Their sonic palette—informed by the dancehall of their hometown as much asit is the techno emanating from the warehouses of Detroit—has made them anindispensable figure in Brooklyn's electronic music scene.Since 2014, McKenzie has been carving spaces in New York for queer people of colorthrough their queer club night, and now label, Fake Accent. The platform is part of theirbroader mission to forge liberating spaces for marginalized people, particularly Black,queer and trans people, an agenda embedded in the various layers of the artist's work.Early records like the breakthrough EP Handle With Care (2019), Ode To Black TransLives (2020) and their debut album, Get Free (2020) established McKenzie not only asa skillful producer, but further as an emotive storyteller. Through their production, theyare known to weave together stories of queer immigrant life, radical self-preservationand Black communal joy.Their music, much like New York, is a cultural stew made vibrant by influences as localas New York's ballroom community and as distant as Berlin's hard techno circuit. In2021, one of techno's most vital institutions, the Berlin venue and record label Tresor,enlisted MacKkenzie to contribute to their 30th anniversary compilation, where themusician was in the company of techno luminaries like fellow contributors Juan Atkins,K-HAND and Robert Hood. In 2022, McKenzie brought their visionary take on techno tolife with a three-part techno opera, Devil Woman (Obeah Woman)—the first iteration ofwhich premiered at New York's The Chocolate Factory Theater, and Queens Museumbefore the project traveled to Berlin.2023, TYGAPAW's second album love has never been a popular movement, wasreleased on fabric Originals in the spring. This album is a special one for severalreasons: It's the first album the musician produced with hardware rather than Ableton,their first record that features their vocals prominently and it also sees McKenzie trytheir hand at songwriting. In eight tracks that hopscotch across atmospheric techno andEast Coast club, love has never been a popular movement addresses, with unshakableconfidence, fierce self-love and TYGAPAW's journey as a Jamaican reckoning with theirtrans identity.https://www.instagram.com/tygapaw/The PUTF show is produced by WAVDWGS, a video production company based in NYC.https://www.instagram.com/wavdwgs/If you'd like to support this project: https://www.patreon.com/pickuptheflow Hosted on Acast. See acast.com/privacy for more information.

In this episode of "The Truth in This Art," host Rob Lee interviews music producer and DJ Stylo. Stylo shares his journey from a nerdy kid in DC with a background in IT and breakdancing to a passionate music creator influenced by jazz, classical, and techno. He discusses his creative process, emphasizing basslines and rhythm, and his approach to curating immersive musical experiences. The conversation touches on the challenges of staying current in the industry, the significance of Black Music Month, and the importance of diverse musical influences. Stylo also highlights his commitment to storytelling and elevating underrepresented voices in music.Episode Highlight:Introduction to DJ Stylo (00:00:10) Rob Lee introduces DJ Stylo, a music producer and DJ, known for his deep tech style with hip hop influences.DJ Stylo's Background (00:01:49) DJ Stylo shares details about his background, including his work as an IT director and his interest in sci-fi.Influences in Music (00:06:24) DJ Stylo discusses his early experiences with music, including playing piano and trumpet, and his exposure to electronic music as a breakdancer.Staying Current and Finding Inspiration (00:18:47) DJ Stylo talks about staying up to date with new music and finding inspiration, acknowledging the impossibility of keeping up with every new release.Uncovering Musical Influences (00:25:21) The conversation dives into the significance of liner notes, exploring the musicians behind the music and their impact on creative inspiration.Embracing Risks in Creativity (00:35:01) DJ Stylo shares his perspective on taking risks in creative pursuits, emphasizing the daily challenges and rewards of pushing boundaries.Good DJ vs. Great DJ (00:42:23) DJ Stylo discusses the difference between a good DJ and a great DJ, emphasizing the importance of playing music that listeners didn't know they wanted to hear.Connect with DJ Stylo (01:04:16) DJ Stylo shares his social media and upcoming live events, including rooftop performances and reissued music.Key Takeaways:1. Balancing Multiple Passions: DJ Stylo shows us that it's possible to juggle a demanding IT career while pursuing a passion for music.2. Creative Beginnings: Starting with simple elements like drum patterns and basslines can lead to innovative and unique music creations.3. Embracing Eclectic Tastes: Exploring a wide range of music genres can enrich your creative output and broaden your musical perspective.4. Taking Risks in Creativity: Pushing boundaries and embracing daily challenges are essential for growth and innovation in any creative field.Website and Socials:link.v1ce.co.uk/musicofstyloX: @MusicOfStyloInstagram: stylothedj

In Episode #184 of The XS Noize Podcast, host Mark Millar speaks to singer/songwriter and indie-dance pop icon Lisa Moorish about her new album, Divine Chaos. This is Moorish's first new music in 20 years, released on the sister label to Irvine Welsh's Jack Said What imprint. Lisa wanted to work with a female co-producer on this new album and teamed up with Zoe Devlin Love (Alabama 3). Renowned producer Steve Mac brought an extra dimension to the collection's tougher electronic beats. Together, they have delivered many flavours—from dance-influenced tracks to indie electronica—amalgamating Lisa's varied sounds across the decades. Lisa Moorish first made her name in music as a teenager when she had a club hit in 1989 with Rock To The Beat, a track written by Detroit techno luminaries Juan Atkins and Kevin Saunderson that fed into the UK's acid house explosion. She went on to work with the likes of Paul Weller and George Michael before being swept up in the Britpop scene and recording vocals on tracks by some of the biggest bands of that era — Oasis, Blur and Ash. She then started her indie electro-punk band, Kill City, in the early noughties, and they were snapped up by music mogul Alan McGee and signed to his new label, Poptones. In this interview, Lisa discusses the writing and recording of Divine Chaos, duetting with George Michael, the Britpop scene and more.  Listen via YouTube | Apple Podcasts | Spotify | Amazon Music | RSS – Find The XS Noize Podcast's complete archive of episodes here. Previous XS Noize Podcast guests have included Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, John Lydon, Nick Heyward, Steven Wilson, Matt Goss, Billy Nomates, Tom Meighan, Midge Ure, Travis, New Order, The Killers, Tito Jackson, Simple Minds, Divine Comedy, Shaun Ryder, Gary Numan, Sleaford Mods, The Brand New Heavies, Villagers, and many more.

"What is it about my music that's touching other people?" One of the forefathers of techno reflects on his legacy, the state of techno music and the city of Detroit live from IMS. Most people in nightlife are familiar with the name Juan Atkins. One of the originators of techno, he grew up in Belleville, a middle-class suburb of Detroit, and would become one of the Belleville Three alongside Derrick May and Kevin Saunderson. This first wave of Detroit techno artists was inspired by the late night emissions of radio DJ The Electrifying Mojo—a late-night presenter who famously mixed different synth music, like Krautrock and the German outfit Kraftwerk—and the writing of futurists like Alvin Toffler, who imagined a different, utopic vision of urban life and technology. In this keynote interview recorded live at International Music Summit in Ibiza, Atkins reflects on his roots and the musical movement that's grown from his first experiments with techno in the '80s. Returning to his adolescence, he unpacks the origins of his electro collaboration Cybotron, his solo project Model 500 (coming to Houghton this year) and his label, Metroplex, which became a blueprint for a hoard of techno imprints that would emerge in its wake. Now 61, Atkins also reflects on the broader impact music has had on his life—he has given lectures on the intersection of physics, music and spirituality—as well as the remaining stones left unturned as he enters the (very much still active) sunset in his career. Listen to the episode in full.

Recorded live at Brussels festival Listen, the veteran talks about leading the birth of acid techno and the sound of proto-techno in Belgium. At the turn of the '90s, Belgium was under the twin influences of early techno and '80s new beat. It was artists like CJ Bolland who helped usher these two sounds together, bridging the low-slung sludge of bands like A Split Second and Lords of Acid with the futuristic chug of Juan Atkins, Jeff Mills and Detroit's first guard. Bolland grew up in Antwerp and was exposed to underground music from his parents, who owned a club. Eventually beginning to produce himself, he helped create the early acid rave sound that would take over Europe. He signed to then-powerhouse label R&S Records with his career-defining single, "Horsepower," in 1991, and from there embarked on a prolific touring career. In this Exchange, he talks to RA's senior producer Chloe Lula live from Listen Festival in Brussels, diving deep into Belgium's unique musical landscape and his thoughts on how it's evolved in response to its position between major techno hubs like The Netherlands and France. A massive gear head, Bolland also shares his favourite tools and reflects on how the state of music-making has changed in the years since he first started his career. Listen to the episode in full.

Il n'y a pas que la trance, la techno à 160 BPM et la house, il y a aussi l'electro. Mais attention, je ne parle pas du mot utilisé à toutes les sauces, je parle de l'electro, genre qui repose sur l'utilisation d'un instrument mythique des musiques électroniques, la TR808 qui renvoie forcément aux pionniers de la techno de Detroit, Drexciya, Juan Atkins, mais aussi à Kraftwerk. C'est en pensant à tout cet héritage que mon invité du jour a abordé la production de son premier album. Son nom, c'est Unklevon, c'est un ancien résident de Tsugi Radio qui accueillait dans son Electric Mansion, une variété d'artistes tous plus passionnants les unes que les autres. L'histoire d'Unklevon c'est aussi celle d'une rencontre avec l'Allemand Boys Noize, véritable partenaire artistique qui l'a signé sur son label. Après plusieurs tournées en Amérique du Sud et du Nord, Unklevon sort vendredi son premier album, UN1C, où il explore ses sons fétiches avec plusieurs featurings de très bonne tenue. Unklevon en mix exclusif à la fin de cette émission, mais d'abord explorons avec lui l'univers de son premier album.

Lassés de la new wave dont ils sont devenus les avatars, les 4 garçons de Depeche Mode sont en 1989 à la recherche d'un nouveau souffle. Ils veulent changer de dimension commerciale et surtout renouveler leur direction artistique. Avec Violator, Depeche Mode fait une entrée magistrale dans les 90s : le disque est sensuel et mystique, sombre et électronique, et contient bon nombre de ce qui deviendra des classiques du groupes, comme “Personal Jesus”, “Policy of Truth”, “World in My Eyes” et bien sûr “Enjoy The Silence”. Dans la discographie bien fournie de Depeche Mode, Violator est l'album qui fait l'unanimité tant auprès des fans et des critiques que des membres du groupe. Vendu à 10 millions d'exemplaires, dont 4 rien qu'aux Etats-Unis, cet album iconique a influencé de nombreux groupes de rock comme Marilyn Manson, Deftones ou Rammstein ainsi que les pionniers de la techno comme Derrick May et Juan Atkins.Dans cet épisode, Olivia vous raconte l'histoire inédite de Dave Gahan, Martin Gore et Alan Wilder. Greg Cook nous emmène aux Puk studios (Danemark) en compagnie du producteur Mark Ellis aka Flood. Fanny, elle, nous fait découvrir l'univers de leur directeur artistique Anton Corbijn et le making of du clip “Enjoy The Silence”. Crédits :Générique : Dr Alban "Sing Hallelujah"Titres écoutés dans l'émission : “World In My Eyes”, “Sweetest Perfection”, “Personal Jesus”, “Halo”, “Waiting For The Night”, “Enjoy The Silence”, “Policy Of Truth”, “Blue Dress”, “Clean”, “People Are People”, “Shake The Disease”, “Enjoy The Silence (Martin L. Gore home demo version)”. Kraftwerk ”Autobahn”, Orchestral Manoeuvres In The Dark “Electricity”, Composition of Sound “Let's Get Together”, Johnny Cash “Personal Jesus”, Nine Inch Nails “Down In It”.Extraits : “Depeche Mode - Just Can't Get Enough - Top Of The Pops - 24/9/81”, “Depeche Mode - Everything counts (101 live at the Pasadena Rose Bowl, 1988)”, “Depeche Mode: 1989-90 If You Wanna Use Guitars, Use Guitars (Documental)”.Radio K7, c'est le meilleur de la musique des années 90s, avec du grunge, de la dance et du RnB. Chaque mois on rembobine leurs cassettes et vous raconte l'histoire inédite des albums qui ont marqué vos 90s. Une émission animée par Emmanuel Minelle, Fanny Giniès, Olivia Godat et Greg Cook. Enregistrée chez Fanny Giniès. Générique réalisé par Greg Cook. Identité graphique signée Floating Studio.LAISSEZ UN MESSAGE APRÈS LE BIP !Vous pouvez nous appeler au 01 89 16 75 31, pour suggérer un album, donner votre avis ou chanter en karaoké avec nous ! Promis, on diffusera les messages au prochain épisode !Et restez connectés : — X : @RadioK7Podcast— Instagram : @radio_k7— Facebook : @Radiok7podcast

Caterina Barbieri, Kali Malone, Moritz Von Oswald and Robert Aiki Aubrey Lowe discuss the role limitations play in the creative process, and whether they can be a source for creativity, if working with limitations helps sharpen one's aesthetics and define one's unique artistic voice, and whether human imagination needs limits to become limitless.Caterina Barbieri is a composer and modular synth artist whose sound draws from electronic, experimental and dance music. Her work is informed by an education in classical guitar and electro-acoustic composition at the Conservatory of Bologna, as well as the Royal College of Music in Stockholm and its famed centre for sound art, Elektronmusikstudion. She has spent a decade since her debut release, Vertical, breaking the rigid structures of electronic music and exploring how sound can induce both metaphysical and psycho-physical responses. Her most recent project, Myuthafoo, further investigates her interest in time, space, memory and emotion, and the links between them.Kali Malone is a composer and organist based in Stockholm. Her compositions are rich with harmonic texture through synthetic and acoustic instrumentation. In 2016 she co-founded the record label and concert series XKatedral, together with Maria W Horn, in Stockholm. Over the last few years she has released the critically acclaimed albums The Sacrificial Code, Living Torch, and Does Spring Hide Its Joy featuring Stephen O'Malley & Lucy Railton.Moritz Von Oswald is a dub techno pioneer producer and percussionist hailing from Berlin. He is the co-founder of production duo and record label Basic Channel. Prior to becoming one of the leading figures in electronic music in the 1990s, he played in one of the last incarnations of Palais Schaumburg. In a career spanning more than 30 years, he has worked with many legendary artists including Juan Atkins, Thomas Fehlmann, Carl Craig and Tony Allen. Robert Aiki Aubrey Lowe is a Brooklyn-based artist, curator, composer and multi-instrumentalist. In 1997, he joined the band 90 Day Men before releasing solo projects under the moniker Lichens from 2004. He has collaborated on projects or provided sound in a featured artist capacity for such films as End of Summer, Sicario, Arrival, Last and First Men with Johann Johannsson and It Comes at Night with Brian McOmber. More recently, Robert has scored Il colpo del cane for Fulvio Risuleo, Candyman for Nia DaCosta, The Color of Care for Yance Ford and Master for Mariama Diallo.

Deep techno music for you. With care and love selected for you by Andrey Sirotkin. This time it's a bit more chilled vibes as sound of this mix goes towards ambien and idm-ish sound from time to time. Welcome and enjoy! Andrey Sirotkin - In The Mix (episode 10) tracklist: 01. Juan Atkins & Moritz Von Oswald - Riod (Original Mix) 02. Plaster - Lazy Tongues (Vincenzo Pizzi Remix) 03. Flembaz - Chocalheiro 04. Surgeon - As You Breathe Here Now 05. Inigo Kennedy - Trickle Down 06. Brankelo - Ghost Town 07. Läserstein - ANS 08. Andrey Sirotkin – Men Do't Cry 09. Valentino Mora - Plasma 10. Robert Hood - Shadows 11. RARÓG - Howling At The Eclipse 12. Dj Nobu - Blue Zone

Detroit dance music thrives on intergenerational connections. In the late '70s and early '80s, the late Ken Collier mixed disco, soul and early electronic dance music in eye-opening DJ sets that left a mark on up-and-coming artists like Delano Smith. Once Smith established himself in the city's explosive techno community, he, in turn, influenced soon-to-be legends like Juan Atkins, Eddie Fowlkes, Jeff Mills, Norm Talley, Mike "Agent X" Clarke and others. Now an elder statesman, Smith is etched into our history books as a crucial contributor to Detroit dance music, both house and techno. He's known especially for the Detroit beatdown sound he pioneered alongside Talley and Clark—slower, sexier records than what Detroit techno is generally associated for. (The trio even put out an RA Podcast under the name in 2010.) It's more recently that Smith has become known as a producer. He started his own label, Mixmode Recordings, and became a regular on Berlin imprint Sushitech, where he released many of his albums, including the jazzy deep house masterclass An Odyssey. His style has evolved over the years to incorporate ambient, dub and more contemporary techno influences. More recently, Smith's career has been sidelined by an ongoing battle with a rare and untreatable form of cancer. He's hosted livestreams throughout his ordeal to keep in touch with his fans. His RA Podcast, which he calls his "Legacy Mix," is a celebration of his favourite sounds: euphoric chords, jacking drums and deep-space melodies, the elements that have and will continue to reverberate through Detroit and beyond. It also marks the beginning of a more hopeful period for Smith, as he gets ready to travel again, especially with his Legacy Detroit series, which celebrates the lineage he's an indelible part of, and always will be. @delano_smith Read more at https://ra.co/podcast/914

Shakespeare in Detroit is celebrating 10 years of creating theatre and helping unleash the creativity of Detroit. Sam White, who heads up the theatre company, joined us to talk about what she's learned over the last decade, what it means to take Detroit with you and always come back home wherever you go, and what Detroit uniquely has to offer. As part of this celebration, they're doing a summer presentation of "Tempest," using the words of Shakespeare and inspired by Techno genius Juan Atkins who is coming to opening night. The show is free and will be on August 11, 12, 13, 18, 19 & 20, 2023 at Campus Martius in downtown Detroit. Learn more about Shakespeare in Detroit and the upcoming program: https://www.shakespeareindetroit.com/tickets  Feedback as always - dailydetroit - at - gmail - dot - com or 313-789-3211 Remember we're on Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-detroit/id1220563942?mt=2  And Spotify: https://open.spotify.com/show/1Yhv8nSylVWxlZilRhi4X9  Thanks to our members: http://www.patreon.com/dailydetroit  Or those who do a one-time contribution: http://www.buymeacoffee.com/dailydetroit  

Detroit, 1988. Gli esperimenti musicali dei dj Juan Atkins, Derrick May e Kevin Saunderson hanno bisogno di un nome. ‘Techno! The New Dance Sound of Detroit', sembra adatto per la prima compilation dedicata ad un genere ancora molto amato e ballato in tutto il mondo.See omnystudio.com/listener for privacy information.

Quince's return after an 8-year hiatus is nothing short of electrifying, as he unveils his highly anticipated four-track 'Anthology Of Interest' EP on SoHaSo's offshoot label, NOWHERE. Hailing from Utrecht, this talented producer takes inspiration from the fluid sounds of Detroit techno, infusing it with pulsating rhythms, alluring keyboard stabs, and sultry basslines. Among the EP's standout tracks, 'Space Pilot 3000' shines as a futuristic and jumpy electro track, where the worlds of Drexciya and Juan Atkins collide in a blinding orange supernova. 'Space Pilot 3000' propels listeners into an intergalactic journey with its mesmerizing sonic palette. Quince skillfully blends the intricate elements of Drexciya's otherworldly soundscapes and Juan Atkins' pulsating rhythms to create an irresistibly infectious groove. The track's distinctive character lies in its ability to transport the listener to a vividly imagined future, where cosmic energies converge, and dancefloors pulsate with energy. The buoyant synths and playful melodies intertwine seamlessly, creating a musical tapestry that evokes a sense of weightlessness and wonder. Quince's triumphant return with 'Space Pilot 3000' and the rest of the 'Anthology Of Interest' EP showcases his ability to craft a sonic universe that pays homage to the genre's pioneers while charting new territories of its own. 'Anthology Of Interest' is coming out on May 29 via SoHaSo's offshoot label, NOWHERE. https://soundcloud.com/quincemusic https://www.facebook.com/bramquince https://soundcloud.com/sohaso https://www.instagram.com/sohaso/ www.itsdelayed.com www.instagram.com/_____delayed/ www.facebook.com/itsdelayed

Welcome to Music Around The World. Each week we showcase a collection of artists and their music from different parts of the world. In this episode, we present to you an impressive lineup of artists including Kevin McKay, Philip Fuldner, Andy G, Terr, Vinyl's From The Past and Music News. https://75dc83.p3cdn1.secureserver.net/wp-content/uploads/2023/04/MFAW-EP-90.mp3 Music From Around The World Transcription Intro: 0:00 to 0:14Mason Paine here and this is episode 90 of Music From Around The World. In this episode I will be featuring music from:  Kevin McKay, Philip Fuldner, Andy G, Terr, Vinyl's From The Past and Music News. Kevin McKay: Start – 0:15  to   End – 6:35Based out of Glasgow, Scotland, is Kevin McKay; DJ, producer, and label owner. His career spans over three decades. Kevin sound and style is considered distinctive which has earned him the respect of many influential artists and fans alike. In 1997 he founded the Glasgow Underground. This label is one of the most influential labels in the house and techno scenes during the 90's and early 2000's.  Having a unique blend of classic house music, modern tunes, and the integration of disco and soul samples, it's no wonder that Kevin's name is well known throughout the industry. His style has made him renowned in the music world. Here is a listen to his latest track “Get Busy”. “Get Busy” is out now on Glasgow Underground and its available on all streaming platforms. Kevin throughout his career has worked with a number of producers and DJs like Omid 16B, Romanthony, Mylo and Linus Loves. He has also held residencies at some of Scotland's most popular clubs such as The Arches in Glasgow and London's renowned The End. For the latest on Kevin's upcoming appearances follow him on Instagram at Instagram.com/kevinmckaymusic; that's Instagram.com/K-E-V-I-N-M-C-K-A-Y-M-U-S-I-C Philip Fuldner: Start – 6:37  to  End – 13:03One of the most prominent figures in the world of house and techno music is German based DJ, Producer, and label owner, Philip Fuldner. Some of his most popular tracks are “The Final”, “Miami Pop” and “Never Too Late”. Check out his latest track “Shift”. In addition to creating music and producing he also has remixed tracks for Faithless, Snap! and Jamiroquai. Here is a listen to his latest track “Shift”. “Shift” is out now via Armada Music B.V. and its available on all streaming platforms. In addition to operating his own record label, Rootdown Records, Phillip has gained recognition for his blend of techno and house. His talents have taken him around the globe to countless clubs and festivals. For the latest on Phil Fuldner latest projects visit: Instagram.com/phil_fuldner; that's Instagram.com/P-H-I-L UNDERSCORE F-U-L-D-N-E-R Vinyl's From The Past: 13:05 to 25:42Let's take a brief break for Vinyl's from the past. In this limited run series, I will be exploring the pioneers that have shaped and influenced the EDM we have today. In this episode we will feature A Number of Names. The origins of techno music can be traced back to Detroit in the mid 80's, with pioneers Juan Atkins, Kevin Saunderson and Derrick May. European artist Kraftwek and Yellow Magic Orchestra influenced the sounds of these artists. In 1981, one of the most early and influential techno tracks was from A Number of Names and it was called “Sharevari” . Take a listen to it here. Sharevari was released on Metroplex records. This track used synthesizers and drum machines to create that futuristic sound. Over the last thirty plus years Sharevari has been sampled and remixed by many artists and recognized as an important track when it comes to the development of techno music.  That's it for this Vinyl's from the past, now let's get back to more music. Andy G: Start – 25:43   to   End – 29:59Big room techno DJ and Producer Andy G. This Sydney, Australia native sound and style has earned him tremendous recognition from renowned artists such as Hardwell,

Our guest on Line Noise this week Is Eddie Fowlkes: a man whose handprints are cemented on the Detroit Historical Museum's Legends Plaza as a techno music pioneer; a producer whose first record was released in 1986 and who has been DJing since the 1970s. He told Ben Cardew about clubbing with Frankie Knuckles, his role in Juan Atkins's legendary Deep Space DJ collective and being overlooked for his role in inventing techno.

As he'll happily tell you, Eddie Fowlkes has been DJing for 42 years. That's a long time for anyone, but especially for someone who never really stopped. From his early records on Juan Atkins' Metroplex record label through to newer releases on his own labels City Boy and Detroit Wax, he's been doing his thing and staying true to himself and his timeless combination of Detroit dance music genres. He doesn't always get his dues alongside his fellow Detroit techno pioneers in the Belleville Three, probably because his sound was always more hybrid, a blend of techno and house that he would come to call techno soul, including on his landmark 1993 album with Moritz von Oswald and Thomas Fehlmann, The Birth Of Technosoul. But Fowlkes is still a force of nature, and a master at mixing too, having four decades to hone his craft. You'll hear that skill on his RA Podcast, which comes in the wake of two more prominent releases, for Rekids and Classic Music Company/Defected, that might help (re)introduce him to a wider audience. Touching on soul, jazz and funk, this is functional but deep stuff played by a master selector, whose hands you can always hear in the mixing—a personal, human touch that defines techno soul. Read more at https://ra.co/podcast/877

When Tom Smith sets out to research allegations of racism in Berlin's club scene, he finds himself face to face with his own past in techno's birthplace: Detroit. Visiting the music distributor Submerge, he considers the legacy of the pioneers Juan Atkins, Derrick May and Kevin Saunderson, the influence of Afro-futurism and the work done in Berlin to popularise techno by figures including Kemal Kurum and Claudia Wahjudi. But the vibrant culture which seeks to be inclusive has been accused of whiteness and the Essay ends with a consideration of the experiences of clubbers depicted in the poetry of Michael Hyperion Küppers. Tom Smith is a New Generation Thinker who lectures in German at the University of St Andrews. You can find another Essay from him called Masculinity Comrades in Arms recorded at the York Festival of Ideas 2019 https://www.bbc.co.uk/programmes/m00061m5 and a New Thinking podcast discussion Rubble Culture to techno in postwar Germany https://www.bbc.co.uk/programmes/p07srdmh New Generation Thinkers is a scheme run by the BBC with the Arts and Humanities Research Council to select ten academics each year who turn their research into radio. Producer: Robyn Read

Episode 76 More Black Techno Matters   Playlist   Drexciya, “Digital Tsunami” from Harnessed The Storm (2002 Tresor). “Filtered through dimensional waves by Drexciya.” Drexciya, “Aquatic Cataclysm” from Harnessed The Storm (2002 Tresor). “Filtered through dimensional waves by Drexciya.” Green Velvet, “Sleepwalking” from Whatever (2001 Music Man Records). Produced, programmed, and written by Green Velvet. Jlin, “Black Origami” from Black Origami (2017 Planet Mu). Produced by Jerrilynn Patton. Gary, Indiana. 3MB Featuring 'Magic' Juan Atkins, “Die Kosmischen Kuriere” from 3MB Feat. Magic Juan Atkins E.P. (1993 NovaMute). Producer, written and mixed by Juan Atkins, Moritz von Oswald, Thomas Fehlmann. Loraine James, “Let's Go” from Reflection (2021 Hyperdub). Produced by Loraine James. Hand, “Calling” from Intuition EP (2015 Acacia). Detroit. Produced, written, and arranged by K. Hand. Loraine James, “Loll” from Detail (2017 Fu Inle Records). Produced by Loraine James. Hand, “Everybody (Tommy Largo Remix)” from Intuition EP (2015 Acacia). Detroit. Produced, written, and arranged by K. Hand. Hand, “Aquatics” from Hot Steel. (2020 Trip Recordings). Produced, written, and arranged by K. Hand (Kelli Maria Hand). This was the result of receiving an invite from musician Nina Kraviz who sent out a call to artists to stream one of their unreleased works; all genres are welcome. After the stream took place, the favourite tracks were signed to produce the Hot Steel release. Available on Bandcamp. LTJ Bukem, “Rainfall” from Raw Music Material - Electronic Music DJs Today (2002 Not on Label). Composed, played, and mixed by LTJ Bukem. Robert Hood. “Kick Dirt” from Raw Music Material - Electronic Music DJs Today (2002 Not on Label). Music by Robert Hood. Robert Hood. “Parade” from Internal Empire (1994 Tresor). Detroit. Music by Robert Hood. Scan 7, “Dark Corridor” from Dark Territory (1996 Tresor). Scan 7 a collective of Detroit techno artists, led by Lou Robinson and including DJ Red Line. Scan 7, “Dark Territory” from Dark Territory (1996 Tresor). Scan 7 a collective of Detroit techno artists, led by Lou Robinson and including DJ Red Line. Venus Ex Machina, “Blood Moon (Solar Mix)” from Lux. (2021 AD93). Ex Machina is a composer, sound designer and interdisciplinary artist based in the UK. Venus Ex Machina, “Mysterium ” from Lux. (2021 AD93). Venus Ex Machina is a composer, sound designer and interdisciplinary artist based in the UK. Venus Ex Machina, “Quaraquara” from Lux. (2021 AD93). Venus Ex Machina is a composer, sound designer and interdisciplinary artist based in the UK. Jeff Mills, “IOK-1” from The Universe: Galaxy 1 (2022 Axis). Written, performed, and produced by Jeff Mills. Jeff Mills, “IOK-4” from The Universe: Galaxy 1 (2022 Axis). Written, performed, and produced by Jeff Mills. Jeff Mills, “The Speed Of Light” from The Universe: Galaxy 1 (2022 Axis). Written, performed, and produced by Jeff Mills. Jeff Mills, “Canis Major Overdensity” from The Universe: Galaxy 1 (2022 Axis). Written, performed, and produced by Jeff Mills. Opening background music: Jeff Mills, “Spider Formation” from The Other Day (1997 Axis). Written, performed, and produced by Jeff Mills. Connect with Black Techno Matters and Bernard Farley. Listen to the Blackness is Revolutionary playlist on Spotify. As of this podcast, this playlist curated by Bernard Farley features more than 1,100 techno tracks by black artists. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

In this episode we welcome "gamekeeper-turned-poacher" Steven Daly, who Zooms in from his adopted Brooklyn to tell us about drumming in Orange Juice and his stellar writing career in America.Steven revisits his musical youth in '70s Glasgow and his first encounters with Edwyn Collins and Postcard's Alan Horne. He talks about the creative divergences within Orange Juice, his eventual move into writing for The Face and Edinburgh's Cut magazine, and the decision in the late '80s to base himself in New York. His hosts focus on three of his pieces, written over the course of 15 years for Spin, Rolling Stone and Vanity Fair, with Steven reminiscing about meeting Joni Mitchell and Sugar Hill matriarch Sylvia Robinson.Clips from Steven's May 1993 audio interview with Suede's Brett Anderson and Mat Osman provide a good excuse to discuss the emerging "Englishness" of post-grunge Britain and the abiding fantasy of UK bands "taking America". Staying Stateside, Jasper praises the week's featured artist Lizzo, with reference to pieces about the funk-pop star that stretch back to 2013. Mark then pays tribute to former Miles Davis bassist Michael Henderson, who died on July 19th, and talks us through his favourite library additions from the past fortnight — including pieces about Yoko Ono, Pink Floyd, Juan Atkins and the aforementioned Miles Davis. Barney mentions pieces about Canned Heat and World of Twist, while Jasper concludes the episode with his thoughts on D'Angelo and the great Black-owned record labels...Many thanks to special guest Steven Daly; visit his RBP writer's page for more on him and his writing.Pieces discussed: Orange Juice, Joni Mitchell, Deee-Lite, Sugarhill Gang, Suede audio, Suede, Lizzo profile, Lizzo live, The Year of Lizzo, Michael Henderson, David Dalton podcast, Pink Floyd, Joni Mitchell, Robert Fripp, Juan Atkins, Yoko Ono, Dusty Springfield, Canned Heat, Earl King, World of Twist, D'Angelo, Black Artist-Owned Labels and Sean Paul's teenage obsessions.

In this episode we welcome "gamekeeper-turned-poacher" Steven Daly, who Zooms in from his adopted Brooklyn to tell us about drumming in Orange Juice and his stellar writing career in America.Steven revisits his musical youth in '70s Glasgow and his first encounters with Edwyn Collins and Postcard's Alan Horne. He talks about the creative divergences within Orange Juice, his eventual move into writing for The Face and Edinburgh's Cut magazine, and the decision in the late '80s to base himself in New York. His hosts focus on three of his pieces, written over the course of 15 years for Spin, Rolling Stone and Vanity Fair, with Steven reminiscing about meeting Joni Mitchell and Sugar Hill matriarch Sylvia Robinson.Clips from Steven's May 1993 audio interview with Suede's Brett Anderson and Mat Osman provide a good excuse to discuss the emerging "Englishness" of post-grunge Britain and the abiding fantasy of UK bands "taking America". Staying Stateside, Jasper praises the week's featured artist Lizzo, with reference to pieces about the funk-pop star that stretch back to 2013. Mark then pays tribute to former Miles Davis bassist Michael Henderson, who died on July 19th, and talks us through his favourite library additions from the past fortnight — including pieces about Yoko Ono, Pink Floyd, Juan Atkins and the aforementioned Miles Davis. Barney mentions pieces about Canned Heat and World of Twist, while Jasper concludes the episode with his thoughts on D'Angelo and the great Black-owned record labels...Many thanks to special guest Steven Daly; visit his RBP writer's page for more on him and his writing.Pieces discussed: Orange Juice, Joni Mitchell, Deee-Lite, Sugarhill Gang, Suede audio, Suede, Lizzo profile, Lizzo live, The Year of Lizzo, Michael Henderson, David Dalton podcast, Pink Floyd, Joni Mitchell, Robert Fripp, Juan Atkins, Yoko Ono, Dusty Springfield, Canned Heat, Earl King, World of Twist, D'Angelo, Black Artist-Owned Labels and Sean Paul's teenage obsessions.

A look back over 10 years of Bass Agenda: Tracklist: (brackets means track is used for background of interview section) iNFO & 4th Genome - Bass Agenda Intro Robodrum - Eat Sleep Electro Repeat Hadamard - My Education Anthony Rother - Don't Stop the Beat Cyberdine Systems Corp - Program State (Legowelt remix) (Rising Sun Systems - Croissant With Stravinsky) Aphex Twin - Aegispolis (Juan Atkins & Moritz Von Oswald - Electric Garden) Aux88 - You Don't Want None of This Fade II Black - The Calling (reprise) Adult. - A Lack of Comfort Folson and Tate - The Tower Detroit in Effect - The Men You'll Never See (Detroit in Effect - I'm In My Lane) The Martian - The Voice of Grandmother Drexciya - Jazzy Fluids Mariska Neerman - Finding Our Way Back Home Plant 43 - Cavernous Bones Helena Hauff - Electronic Future featuring Paris The Black Fu Cygnus - Volus Murgatroyd (Aphex Twin - Aphex Twin - Syro U473t8+E (141 98) (Piezoluminescence mix)) DMX Krew - Peripheral Visions Kraftwerk - Numbers Afrika Bambaataa and the Soul Sonic Force - Planet Rock The Egyptian Lover - Egypt Egypt (IWDG – In A Lonely Place (Keith Tenniswood remix)) Two Lone Swordsmen - Brootle Inkamera - Superpartners (Photon Photino) Vita - The Ultimate Collapsing Robert Wyatt - Alifib Das Muster - Verhaltensmuster Mumm - Ein Blick In Die Zukunft John Selway - Millennium Sound (Selway New Millennium Version) Interview clip sequence: Dave Clarke on Electro and genres (2014) Anthony Rother on the producer's creative trip (2014) Legowelt on EDM, creative process, and Ageispolis by Aphex Twin (2018) Juan Atkins on music and vibrations (2017) Keith Tucker on quality control (2014) Blak Tony on The Calling (reprise) by Fade II Black (2014) Adult. on music and meaning (2017) Sean Tate on music and purpose (2019) Detroit in Effect on The Men You'll Never See and inspiration (2013) Santiago Salazar aka Seldom Seen on The Voice of Grandmother by The Martian (2013) Stephen Rennicks (Drexciya Research Lab) on the continued importance of Drexciya (2019) Martin and Brian Bonds on what made/makes Detroit special (2021) Mariska Neerman on Finding Our Way Back Home, creativity, and listener interpretation (2021) Plant43 on Scars of Intransigence, Cavernous Bones, and venting emotions through music (2016) Helena Hauff on social media and DJ'ing (2018) Cygnus on Volus Murgatroyd and the creative journey in the mind (2014) DMX Krew on advice for producers and getting pleasure from making music (2014) The Egyptian Lover on Kraftwerk and the evolution/influence of Numbers by Kraftwerk (2013) Radioactive Man on Andrew Weatherall (RIP) (2021) Victoria Lukas (RIP) on her music and Alifib by Robert Wyatt (2013) Das Muster (RIP) on his different aliases and expression of emotions (2015)

The Electrifyin' Filthy Rockwell speaks with Riverwise's managing editor, Megan Douglass, about his passion for music, art, and community. Nominated for a grammy for his production role in Kanye West's “Mercy,” and mentored by greats such as George Clinton, J.Dilla, and Juan Atkins, Filthy's goal is to both mentor younger musicians who come behind him as well as provide them a space where they can learn, create, and be supported. Listen and learn about his beautiful cultural preservation space in downtown Detroit, his activism around the city of Detroit, and a little about Death. The Riverwise Podcast is bringing together Detroit citizens to consider new and forms of resistance to continuing economic and political marginalization in communities of color. For over three years now, the Riverwise collective has created media that depicts local activism and the profound new work being done in Detroit neighborhoods. Through the quarterly Riverwise magazine, Riverwise community conversations, and the Riverwise Writing Workshop, we're developing our collective voice.

Episode 75 Black Techno Matters   Playlist Frankie Knuckles. Baby Wants To Ride. (1987 D.J. International). Vocals by Jamie Principle. South Bronx, New York. Written, produced, and instrumentation by Frankie Knuckles (Francis Nicholls). 6:43 Juan Atkins, “Bassmental” from 3MB Feat. Magic Juan Atkins (1992 Tresor). Detroit. Written, produced, and played by Juan Atkins. 9:01 Dave Angel, “Endless Motions” from 3rd Voyage (1993 R&S Records). Produced, programmed, and written by Dave Angel. 4:28 Green Velvet, “Conniption” from Velvet Tracks (1993 Relief Records). Produced, programmed, and written by Green Velvet (Curtis Alan Jones). 18:17 Robert Hood. “Spirit Levels” from Internal Empire (1994 Tresor). Detroit. Music by Robert Hood. 5:06 Hand, “I Remember When” from On a Journey. (1995 !K7 Records). Produced, written, and arranged by K. Hand (Kelli Maria Hand), Detroit. 9:15 Scan 7. “Beyond Sound” from Dark Territory (1996 Tresor). Scan 7 a collective of Detroit techno artists, led by Lou Robinson and including DJ Red Line. 6:25 Green Velvet. Flash (Original Mix) from Flash (Remixes) (2000 F-111 Records). Produced, programmed, and written by Green Velvet. 5:47 Hand, “Rain-Interlude” from “Detroit History” Part 1. (2001 Acacia). Detroit. Produced, written, and arranged by K. Hand. 1:38 Hand, “Riverfront” from “Detroit History” Part 1. (2001 Acacia). Detroit. Produced, written, and arranged by K. Hand. 5:52 Outputmessage (Bernard Farley), “REM State” from Oneiros (2004 Echelon Productions). Written, performed, and produced by Bernard Farley. 4:33 Hand. “Intuition” from Intuition EP. (2015 Acacia). Detroit. Produced, written, and arranged by K. Hand. 4:25 Jlin, “Enigma” from Black Origami (2017 Planet Mu). Produced by Jerrilynn Patton. Gary, Indiana. 3:48 Loraine James, “To the Left, to the West,” from Detail (2017 Fu Inle Records). London. 6:03 Jeff Mills, “Many Many Worlds” from The Universe Chapter 1 (2020 Axis). Produced, mixed, and edited by Jeff Mills. 4:40 Jeff Mills, The Speed of Light” from The Universe Chapter 1 (2020 Axis). Produced, mixed, and edited by Jeff Mills. 2:44 Venus Ex Machina. “Avril” from Lux. (2021 AD93). UK-based artist. Venus Ex Machina is a composer, sound designer and interdisciplinary artist based in the UK. 2:23 Venus Ex Machina. “Elephant” from Lux. (2021 AD93). UK-based artist. Venus Ex Machina is a composer, sound designer and interdisciplinary artist based in the UK. 4:20 Opening background music: Outputmessage (Bernard Farley), “Switch” from Oneiros (2004 Echelon Productions). Written, performed, and produced by Bernard Farley. Connect with Black Techno Matters and Bernard Farley. Listen to the Blackness is Revolutionary playlist on Spotify. As of this podcast, this playlist curated by Bernard Farley features more than 1,100 techno tracks by black artists. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

KAPPA FUTUR FESTIVAL 2022 LINE-UP   Hello Everybody Today we will discover what's the line up of Kappa Futur Festival, and how's I going to be.  The award-winning festival is back for its ninth edition at the famous Dora Park, Italy with an extra day added. Running from July 1 to 3, this renowned techno festival will see huge names of the industry perform including, Amelie Lens, Ben Böhmer, Four Tet, Peggy Gou and many more.   Day one will see Belgium's Amelie Lens, Swiss DJAndrea Oliva, Germany's acclaimed Ben Böhmer (playing live), DJ Boris Brejcha and Ibiza-based Chelina Manuhutu — with Four Tet making his Kappa Futur debut. Farrago and Milo Spykers will be going back-to-back, Germany's FJAAK live, I Hate Models, Chicago house DJ John Summit, Michael Bibi and South Korea's one and only Peggy Gou. As well as these huge names, Reinier Zonneveld will be playing live, London-based Syreeta and Spanish DJ Wade plus for the first time Ugandan collective NYEGE NYEGE with HHY & The Kampala Unit, Kabeaushé, Jay Mitta & Anti Vairas, Menzi and Turkana all confirmed.   The next day will see The Blessed Madonna, UK house legends CamelPhat, plus the return of Craig Richards and DJ Derrick Carter. Diplo will be making his debut whilst the influential UK DJ and producer Jamie Jones will return for an exclusive B2B session with The Martinez Brothers. Belgium's Joyhauser, Berlin techno duo Pan-Pot, DJ/producer Ricardo Villalobos, techno from Satoshi Tomiie live, selector Solomun, Sonja Moonear, and Youniverse will also be performing on day two. The last additions for this mega day are Agoria, Carl Craig who presents Paperclip People live. You can also expect sets from French DJ Chloé Caillet, Denis Sulta, Honey Dijon, and the talented duo Tale Of Us.   I really hope the names are correctly pronounced    Day three has the festival-favourite Carl Cox, Rush Hour Music cofounder Antal, DJ Bedouin, Blackchild, and Cybotron fronted by Detroit techno maverick Juan Atkins with an audio-visual show. Catch the leading underground heroes Detlef or watch Fisher plus Mathew Jonson serving up a performance featuring Xx ISIS xX, along with Solid Grooves head Michael Bibi back-to-back with Seth Troxler. Motor City Drum Ensemble's Danilo Plessow, Enrico Sangiuliano, house hero Danny Tenaglia, Dennis Cruz and Helena Hauff. The weekend doesn't end there as Joseph Capriati returns to the KappaFutur stage as does Monika Kruse and Spanish spinner Paco Osuna, plus sets from Chile's Paula Tape, Solardo, PAWSA, and Amsterdam's Young Marco.   ► Are You a Dj? Send Your Video or Dj Set: http://www.trip-records.com/Sets/index.html  ► Subscribe to Trip Records Sets YouTube: http://www.youtube.com/c/TripRecordsSets ► Subscribe to Trip Records Sets Mixcloud: https://www.mixcloud.com/TripRecordSets/ ► Subscribe to Trip Records Sets SoundCloud: https://soundcloud.com/trip_records_sets ---- Send Your Demo, Trip Records is looking for you ! (Send us a private Soundcloud link) ► demo@trip-records.com -----

Episode 025 Dj, Producer and label owner Rennie foster tells us how he got into the electronic music scene and working with well established producers. He explains about his life in Japan and how he broke into the dj scene there. Rennie Foster has been a well-respected figure in the Canadian music and art community for over two decades. He influenced many as an early pioneer of the Hip-Hop / B-Boy movement, and later the House Music and Techno / Rave scene, participating in the first events in Western Canada during the birth of these now common urban subcultures. He is also very well known within the niche of graffiti art for his early work, having been archived in several published books. Rennie relocated to Tokyo Japan in 2004 and became an important part of the Japanese club scene, playing all over Japan in venues such as Womb, ageHa, and Yellow, maintaining DJ residencies in Tokyo and Kyoto at the Metro club and at the Nagisa Music Festival in Tokyo and Osaka. Rennie was consistently ranked in the top 50 DJs in Japan by LOUD Magazine until re-locating back to Canada in 2011. Rennie is currently a resident DJ at Western Canada's top after-hours club, Gorg-O-Mishin Vancouver, BC, regularly traveling to play as a guest at underground venues across Canada, Detroit, New York,and Paris and has played festivals such as Shambhala and Bass Coast among others. Rennie Foster has released music with Jack White's Third Man Label, classic dance music labels including Transmat, F-Communications, Synewave, Teknotika, Subject Detroit, and is widely recognized for his underground anthem Devil's Water on Rebirth Records. Rennie has remixed, or been remixed by, some of the top names in dance music such as Juan Atkins, James Zabiela and Swayzak. He has released many singles, EPs, and four full length albums. He runs a signature record label RF and continues to produce tough urban house music and stylish techno for cutting edge dance music imprint including Goldmin Music and Skylax Records in Paris and the Detroit based Soiree Records. Video Version: https://www.youtube.com/watch?v=NqYzPxzU_uA&t=4135s CONNECT: The music Matters Podcast Instagram: https://www.instagram.com/the_music_m... Patreon: https://www.patreon.com/themusicmatte... Website: www.themusicmatterspodcast.com Treat us to coffee :) https://www.buymeacoffee.com/musicmatteo CONNECT: Rennie Foster Facebook: https://www.facebook.com/renniefostermusic Twitter: https://twitter.com/renniefoster YouTube: https://www.youtube.com/channel/UC2c32WKmZJQoQCGCVagj0mg --- Send in a voice message: https://podcasters.spotify.com/pod/show/raveroompodcast/message

1/2: @__vyvmusic__ 2/2: @ariannadanae REBELLE is an emerging party label and mix series broadcasting deep cuts and notable guest mixes on Data Transmission Radio. Curated and hosted by Arianna Danae, based in Brooklyn, NY. Our guest mix this month is by Vivian Wang. The classically trained merging talent has made quite a name for herself in the NY scene, so far she has shared the stage with artists such as Juan Atkins, Andrey Pushkarev, Lauren Flax. Vivian is also co-founder of Freshly Pressed, an all vinyl party series which benefits a nonprofit music and mentoring organization dedicated to empowering girls and genderexpansive youth. @rebelle-ion T r a c k l i s t // [1/2] Vivian Wang // N/UM - Induction Jay Prouty & David Paglia - Do You Know Keiske At Last - Por Petre Killer Loop - Someone (Juan Atkins Remix) Rico & Sonny - The Beat Traumer - Last Minute Riccardo Villalobos - Hansup (Baby EP) Nate S.U - Cherry on the Run Dennis Quin - Chante ft. Karmina Dai (Silverlining Remix) Marius - Papayas Beaches Fabio Monesi - Love Letter (Dub Mix) Club Winston - Enjoy! Mountain People - Iterate Plush Management. Inc. - Work Bitch (Regfant Refizz) [2/2] Arianna Danae // Omar S - Mystery Man Memo Rex - Tangible Adam Collins - In The Class (Boyle Height Mix) Oshana - Acid Disco Headtrip - Here Comes The Guitars Syzygy - Can I Dream Kings Of The Rising Sun - I Am Ben Fester - Tumbo Rumblin OneOneOne - Pipeline Womack - Cow Girl (Mike Berardi Remix) Fracesco Farfa - Novanta (DJ Tennis Remix) Jovonn - Flutes (165th Street Mix)

In this week's episode, we celebrate Black History Month! I talk about the roots of electronic dance music (EDM) and how they tie back to African American roots. We discuss the origins founders of House music, Techno, and Dubstep that were all created by black men. Dj Frankie Knuckles, DJ, Ron Hardy, and Larry Levan created the genre house music in the 1970s. The Belleville Three is a group credited with inventing the musical style known as Detroit Techno. The group consists of Juan Atkins, Derrick May, and Kevin Saunderson. Digital Mystikz started the genre dubstep as a duo consisting of Mala (Mark Lawrence) and Coki ( Dean Harris) from South London. LINKS RELATED TO THE EPISODE: https://mailchi.mp/3db904c8b690/gethighengagement Follow us on Instagram: https://www.instagram.com/productivitymeetsparty/ https://www.instagram.com/partyperryy/ Intro Song By: https://soundcloud.com/brainwet https://open.spotify.com/artist/2eCMhisSAtYX5jjIeOvnlm?si=XB_bhMr2Q0al8LYG8qAPVg&nd=1 Art Cover By: https://www.instagram.com/freerelief/ --- Send in a voice message: https://anchor.fm/productivitymeetsparty/message

2:06 - First techno record4:25 - The history of the Bellevue Three and the birth of techno07:34 - Experiencing underground music in Detroit10:27 - The original meaning of “progressive”12:28 - The connection between Detroit and techno15:26 - Stacey's one mission20:38 - Staying in and learning to program beats24:43 - Meeting mentors and improving skills31:49 - Defining the second wave of techno33:58 - Moving to Amsterdam37:24 - The Amsterdam scene40:25 - Disaster first European gig43:51 - Returning to Detroit47:33 - Psudenyms51:38 - Radio School residency55:42 - The minimal scene1:00:34 - Developing the techno sound1:02:58 - Essential Mix1:05:38 Travel guide to Detroit1:11:49 - Being veganWhen you talk about the history of underground dance music. You have to talk about Detroit. Stacey Pullen joined Super Progressive to talk about talk about Stacey's school days as a drummer, driving to the Music Institute when he was away at college, meeting his idols, moving to Amsterdam, DJing in Europe, returning to Detroit, what makes Detroit what it is, and being vegan. Super Progressive is a house music podcast dedicated to telling the history of underground dance music.