Deepchord - Luxury (Part 2) - Soma Quality Recordings - Minimal
Track ListingA. Luxury 3
AA. Luxury 4
Media Condition » Mint (M)
Sleeve Condition » Mint (M)
|Title||Luxury (Part 2)|
|Label||Soma Quality Recordings|
|Format||Coloured Vinyl 12 Inch|
Other Titles by Deepchord
Information on the Minimal GenreMinimal techno is a minimalist sub-genre of techno. It is characterized by a stripped-down aesthetic that exploits the use of repetition, and understated development. This style of dance music production generally adheres to the motto less is more; a principle that has been previously utilized, to great effect, in architecture, design, visual art, and Western art music. The tradition of minimalist aesthetics in Western culture can be traced to the German Bauhaus movement (1919 to 1933). Minimal techno is thought to have been originally developed in the early 1990s by Detroit based producers Robert Hood and Daniel Bell, although what is currently referred to as 'minimal' has largely been developed in Germany during the 2000s, and made very popular in the second half of the decade by labels such as Kompakt and M-nus.
In an essay published in the book Audio Culture: Readings in Modern Music (2004), music journalist and critic Philip Sherburne, asserts that minimal techno uses two specific stylistic approaches, one being skeletalism, and the other massification. According to Sherburne, in skeletal minimal techno, only the core elements are included with embellishments used only for the sake of variation within the song. In contrast, massification is a style of minimalism in which many sounds are layered over time, but with little variation in sonic elements. Today the influence of minimal styles of house music and techno are not only found in club music, but becoming more commonly heard in popular music. Regardless of the style, "minimal Techno corkscrews into the very heart of repetition" so cerebrally as to often inspire descriptions like 'spartan', 'clinical', 'mathematical', and 'scientific'."
The minimal techno producer Dj.JoÃ£o Bessa has commented that he had a dislike for minimalism in the artistic sense of the word, finding it too "arty". Robert Hood describes the situation in the early 1990s as one where techno had become too "ravey", with increasing tempos leading to the emergence of gabber. Such trends saw the demise of the soul infused techno that typified the original Detroit sound. Robert Hood has noted that he and Daniel Bell both realized something was missing from techno in the post-rave era, and saw that an important feature of the original techno sound has been lost. Hood states that "it sounded great from a production point of standpoint, but there was a 'jack' element in the structure. People would complain that there's no funk, no feeling in techno anymore, and the easy escape is to put a vocalist and some piano on top to fill the emotional gap. I thought it was time for a return to the original underground."
The minimal techno sound that emerged at this time has been defined by Robert Hood as: "a basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. It's a heart-felt rhythmic techno sound.
In his essay Digital Discipline: Minimalism in House and Techno Philip Sherburne also proposes what the origins of Minimal techno might be. Sherburne states that, like most contemporary electronic dance music, minimal techno has its roots in the landmark works of pioneers such as Kraftwerk and Detroit Techno's Derrick May and Juan Atkins. Minimal techno focuses on "rhythm and repetition instead of melody and linear progression", much like classical minimalist music and the polyrhythmic African musical tradition that helped inspire it. By 1994, according to Sherburne, the term "minimal" was in use to describe "any stripped-down, Acidic derivative of classic Detroit style".
Los Angeles based writer Daniel Chamberlin, attributes the origin of minimal techno to the German producers Basic Channel and in doing so fails to credit the contributions of Robert Hood or mention the influence of Hood, and other members of Underground Resistance, on the Berlin techno scene of the early 1990s (the scene out of which Basic Channel emerged). Chamberlin draws parallels between the compositional techniques used by producers such as Richie Hawtin, Wolfgang Voigt, and Surgeon and that of American minimalist composer Steve Reich, in particular the pattern phasing system Reich employs in many of his works; the earlist being "Come Out". Chamberlin also sees the use of sine tone drones by minimalist composer La Monte Young and the repetitive patterns of Terry Riley's "In C" as other influences. Sherburne has suggested that the noted similarities between minimal forms of dance music and American minimalism could easily be accidental; he also notes that much of the music technology used in EDM has traditionally been designed to suit loop based compositional methods, which may explain why certain stylistic features of minimal techno sound similar to works of Reich's that employ loops and pattern phasing techniques.