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69 - Sound On Sound - Planet E - Detroit Techno

69 - Sound On Sound - Planet E - Detroit Techno
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Track Listing

A1 Rushed
A2 Sub Seducer
A3 Sound On Sound
B1 Poi Et Pas
B2 Filter King
B3 No Highs
B4 Finale

Media Condition » Near Mint (NM or M-)
Sleeve Condition » Generic
Artist 69
Title Sound On Sound
Label Planet E
Catalogue PE 69170
Format Vinyl 12 Inch
Released 1993
Genre Detroit Techno

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Underground ResistanceOmar-SSuburban KnightAux 88Random Noise GenerationSteve PoindexterTheo ParrishBottom Feeders, TheVenomousInner CityDJ RolandoVintage FuturePhase90BileebobRobert Hood & FloorplanJuan AtkinsParis Fascinating RhythmKloutOpen House & Placid AnglesRhythim Is RhythimEsser'ayModel 500Etat SolideDeepChordTerrence ParkerModel 500 / MaydayThe Reese ProjectEMBTres DementedPsyance2 The Hard WayOctave OneK.O.T.PsycheE-DancerFlorenceShop & Innerzone Orchestra33 1/3 QueenThe Martian

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Naomi DanielCommon Factor & John RedmondGeminiInnerzone Orchestra & Paul RandolphPsycheFlorence & Wladimir MAlton MillerGood GirlsLCD Soundsystem & Paperclip PeopleMoodymannIbexPaperclip PeopleMartin ButtrichCarl CraigQuadrantTodd SinesGeologyShop & Innerzone OrchestraSebastien SanInnerzone OrchestraPsyche & BFCVince WatsonDesigner Music

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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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