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Omar-S - 006 - FXHE Records - Detroit Techno

Omar-S - 006 - FXHE Records - Detroit Techno
Price £14.00

Track Listing

A1 Polynesia
A2 Churchill
A3 Micronesia
B1 Frontwardsflip
B2 Nikademas

Media Condition » Mint (M)
Sleeve Condition » Mint (M)
Artist Omar-S
Title 006
Label FXHE Records
Catalogue AOS-006
Format Vinyl 12 Inch
Released 2006
Genre Detroit Techno

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Other Titles by Omar-S

-998001001002002002002 002 - blue vinyl002 - green vinly003 - blue stamped003 - blue stamped0040051 Out Of 853 Beats / Hot Ones Echo Thru The Ghetto1992

Some Other Artists in the Detroit Techno Genre

Underground ResistanceSuburban KnightRandom Noise GenerationSteve PoindexterTheo ParrishBottom Feeders, TheInner City69Phase90Model 500Tres DementedParis NomadicoOpen House & Placid Angles2 The Hard WayBang The PartyFlexitoneFade To BlackKloutFascinating RhythmPlural (3)Aux 88EMBBileebobDJ RolandoRhythim Is RhythimEast Island Vs The ModeratorInnerzone OrchestraH & MKenny LarkinGlobal Electronic NetworkRhythim Is Rhythim & Derrick May & MaydayDean & DelucaJeff MillsConmenChaosGeologyCallowayBridgett GraceCircuit Breaker

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Some Other Artists on the FXHE Records Label

Omar-S & Nite JewelAlex. O. SmithOmar-S & Colonel AbramsOmar-S & Oasis Omar-S & Shadow Ray

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Information on the Detroit Techno Genre

Detroit 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 George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.

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