Claude Young & Takasi Nakajima - Rapture Remixes - Applied Rhythmic Technology (ART) - US Techno
Track ListingA Rapture (Kirk Degiorgio Remix)
B Rapture (TJ Kong Remix)
Media Condition » Mint (M)
Sleeve Condition » Mint (M)
|Artist||Claude Young & Takasi Nakajima|
|Label||Applied Rhythmic Technology (ART)|
|Format||Vinyl 12 Inch|
Some Other Artists in the US Techno Genre• Inner City • Moby • Model 500 • Sysex • Paris Grey & Kevin Saunderson • RYU • Dave Clarke • Needle Damage • One On One • Rhythmatic • Reese Project, The • Hard Hats • Mario Più • Blow Monkeys, The • DJ Marcello & Derrick May • Markey • This Is War • Keynotes • R+S Project • Leftfield • Twilight • BG Prince Of Rap • Sharon Dee Clarke • Satoshi Tomiie • DJ Rush • Mike Wade • Aphrohead • Adam X • DJ Steve Lee • Tech-Master 3 • Sunrise Society • JMD 2 • Macaluso • Playland • cv313 • Mateo Murphy • Exit 100 • DJ Dan • Robert Williams • Tempest •
Some Other Artists on the Applied Rhythmic Technology (ART) Label•
Information on the US Techno GenreTechno is a form of electronic dance music (EDM) that emerged in Detroit, Michigan, US during the mid to late 1980s. The first recorded use of the word techno, in reference to a genre of music, was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.
The initial take on techno arose from the melding of Eurocentric synthesizer-based music with various American post-disco and pre-disco music styles such as Chicago house, funk, electro, and electric jazz. Added to this is the influence of futuristic and fictional themes that are relevant to life in American late capitalist society—particularly the book The Third Wave by Alvin Toffler. Pioneering producer Juan Atkins cites Toffler's phrase "techno rebels" as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality.In this manner: "techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness".
Music journalists and fans of techno are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance. "Techno" is also commonly confused with generalized descriptors, such as electronic music and dance music.