Omar-S - 002 - FXHE Records - Detroit Techno
||Out of Stock||
Track ListingA1 I Hate
A2 Miss You
B2 Set It Out
Media Condition » Mint (M)
Sleeve Condition » Mint (M)
|Format||Coloured Vinyl 12 Inch|
Other Titles by Omar-S
• 006 • 001 • 1992 • -998 • 001 • 002 • 002 • 002 • 002 - blue vinyl • 002 - green vinly • 003 - blue stamped • 003 - blue stamped • 004 • 005 • 1 Out Of 853 Beats / Hot Ones Echo Thru The Ghetto •
Some Other Artists in the Detroit Techno Genre• Underground Resistance • Random Noise Generation • Robert Hood • Steve Poindexter • Suburban Knight • Theo Parrish • Bottom Feeders, The • Inner City • Phase90 • Fascinating Rhythm • Risque III • Model 500 / Mayday • Open House & Placid Angles • Blake Baxter • Venomous • DeepChord • Robert Hood & Floorplan • 2 The Hard Way • Aux 88 • Rhythim Is Rhythim • K.O.T. • Flexitone • EMB • Vintage Future • Tres Demented • Bileebob • Paris • Klout • Jeff Mills • Terrence Parker • 3MB & Juan Atkins • Fade To Black • Bridgett Grace • Jon Dixon (3) • Calloway • Innerzone Orchestra • Dean & Deluca • H & M • Geology • Couzens •
Some Other Artists on the FXHE Records Label• Omar-S & Nite Jewel • Alex. O. Smith • Omar-S & Colonel Abrams • Omar-S & Oasis • Omar-S & Shadow Ray •
Information on the Detroit Techno GenreDetroit techno is an early style of electronic music beginning in 1980s. Detroit has been cited as the birthplace of techno music. Prominent Detroit Techno artists include Juan Atkins, Derrick May, and Kevin Saunderson. A distinguishing trait of Detroit techno is the use of analog synthesizers and early drum machines, particularly the Roland TR-909, or, in later releases, the use of digital emulation to create the characteristic sounds of those machines.
Detroit techno music was originally thought of as a subset to Chicago's early style of house. However, some critics believe that the Detroit techno movement was an adjunct to house music, named for the new style of music played at a Chicago nightclub called "The Warehouse". Although producers in both cities used the same hardware and even collaborated on projects and remixes together, Detroiters traded the choir-friendly vocals of House with metallic clicks, robotic voices and repetitive hooks reminiscent of an automotive assembly line. Many of the early techno tracks had futuristic or robotic themes, although a notable exception to this trend was a single by Derrick May under his pseudonym Rhythim Is Rhythim, called Strings of Life. This vibrant dancefloor anthem was filled with rich synthetic string arrangements and took the underground music scene by storm in May 1987. With subtle differences between the genres, clubs in both cities included Detroit techno and Chicago house tracks in their playlists without objection from patrons (or much notice by non-audiophiles).
The three individuals most closely associated with the birth of Detroit techno as a genre are Juan Atkins, Kevin Saunderson and Derrick May, also known as the "Belleville Three". These three high school friends from the Detroit suburb would soon find their basement tracks in dancefloor demand, thanks in part to seminal Detroit radio personality The Electrifying Mojo. Ironically, Derrick May once described Detroit techno music as being a "complete mistake...like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.