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Detroit techno is a type of techno music that generally includes the first techno productions by Detroit-based artists during the 1980s and early 1990s.Prominent Detroit techno artists include Juan Atkins, Eddie Fowlkes, Derrick May, Jeff Mills, Kevin Saunderson, Blake Baxter, Drexciya, Mike Banks, James Pennington and Robert Hood.
Movement Electronic Music Festival is an annual electronic dance music event held in the birthplace of Techno, Detroit, each Memorial Day weekend since 2006. Previous electronic music festivals held at Hart Plaza on Memorial Day weekend include Detroit Electronic Music Festival (2000–2002), Movement (2003–2004) and Fuse-In (2005).
Former Detroit music journalist for the Detroit Metro Times, Hobey Echlin describes ghettotech as a genre that combines "techno's fast beats with rap's call-and-response." [2] It features four-on-the-floor rhythms and is usually faster than most other dance music genres, at roughly 145 to 160 BPM. Vocals are often repetitive, crude, and ...
The Belgian rave scene and sound have their roots in the late 1980s Belgian EBM and New Beat scenes. Originally created by DJs slowing down gay Hi-NRG 45rpm records to 33rpm to create a trance-dance groove, New Beat evolved into a native form of hardcore techno in the 1990s with the introduction of techno records played at their original speeds ...
Energy Flash: A Journey Through Rave Music and Dance Culture is a book by English music journalist Simon Reynolds which chronicles the development of dance and rave music from the mid-1980s to the early 2000s. The book was published in the United States under the title Generation Ecstasy: Into the World of Techno and Rave Culture.
Aside from the artists whose music was popular in the Detroit high school scene ("progressive" disco acts such as Giorgio Moroder, Alexander Robotnick, and Claudio Simonetti synth-pop artists such as Visage, New Order, Depeche Mode, The Human League, and Heaven 17), they point to examples such as "Sharevari" (1981) by A Number of Names, [156 ...
The subculture took shape in the late 1980s and early 1990s at underground rave parties in the U.S. and London. A particular contributor to this in the UK was the Ibiza club scene, through which British tourists were exposed to the twelve hour clubbing cycle. [ 3 ]
In 1988, dance music entrepreneur Neil Rushton approached the Belleville Three to license their work for release in the UK. To define the Detroit sound as being distinct from Chicago house, Rushton and the Belleville Three chose the word "techno" for their tracks, a term that Atkins had been using since his Cybotron days ("Techno City" was an early single). [10]