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Messiah - Prince Of Darkness / I Am Evil - Déja Vu Recordings - Techno

Messiah - Prince Of Darkness / I Am Evil - Déja Vu Recordings - Techno
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Track Listing

Side 1 Prince Of Darkness (4:35)
Side 2 I Am Evil (4:00)

Media Condition » Very Good Plus (VG+)
Sleeve Condition » Very Good (VG)
Artist Messiah
Title Prince Of Darkness / I Am Evil
Label Déja Vu Recordings
Catalogue DJV 005
Format Vinyl 12 Inch
Released 1991
Genre Techno

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Other Titles by Messiah

20,000 Hardcore MembersThunderdome20,000 Hardcore MembersI Feel LoveTemple Of DreamsTemple Of Dreams Manix RemixThunderdome20,000 Hardcore MembersI Feel LovePrince Of Darkness / I Am EvilPrince Of Darkness / I Am EvilTemple Of DreamsTemple Of DreamsTemple Of DreamsTemple Of Dreams

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Carl CoxDJ Dan808 StateWestBamThe ProdigyEskimos & EgyptSven VäthUnderworldDave AngelThe Chemical BrothersSlamLuke SlaterRoel ButzenRedheadJbsMobySystem 7LostCristian VogelSapianoDavid RoiseuxAndreas KremerTechnomaniaJosh WinkFrankie BonesSound ExcitersBob BrownKen IshiEmpirionIgnition TechnicianMark SummersKlubzone 1Dynamite Unknown ArtistPaul LangleyDave ClarkeStacey PullenZombie NationDigital OrgasmAquarhythms

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Some Other Artists on the Déja Vu Recordings Label

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Information on the Techno Genre

Techno is a form of electronic dance music that emerged in Detroit, Michigan in the United States 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 European electronic music by artists such as Kraftwerk with African American music including funk, electro, Chicago house 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.

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