Us Guys? I never claimed to have invented anything. I don't presume to speak for everybody from here either because i'm sure the opinions vary. Techno doesn't need a great defender. I have no superiority complex, if you read what i wrote in that way then you must have an inferiority complex. If you feel pity for Rob Hood your pity is far misplaced. Quit trying to read in to what i say because it wont do you any good, trust me. Ask anybody that knows me, if i want to say something i'll just straight up say it, i don't need to sugarcoat my words.nowayback wrote:Jesse_mtl >
Torque > what's with all the anger dude? some of you Detroit guys act like you invented the wheel or
something... and people OUTSIDE Detroit got fed up of this... You think the world hasn't showed enough
gratitude for what Detroit has contributed? not enough respect? Europe and temples like Tresor, Rex,
Fuse, The Orbit, Voodoo etc made the Detroit boys famous... Why every now and then some Detroit dude
acts like The Great Defender of Techno and bursts into moaning about stuff like that? as if you guys
have some superiority complex? What's the purpose of spreading a story like the Hood one you mentioned?
It makes me feel more pity than respect the way you served it.
Those who know, know. But for those who don't know, this surely ain't the way to approach them.
Sick and tired of stuff like this. YES we respect Detroit. But PLEASE Detroit, lose some of the attitude.
A message from Mad Mike..........
ja, ok. "IT'S ALL TECHNO and without detroit there would be no techno." "Take Detroit out of the equasion
and you have nothing". Blah. I reckon that's just the kind of speech the world can't bear anymore.
I repeat: we don't forget, we're just fed up hearing it.
Anyhow it's all been said, won't bother any further. It's getting silly coz we agree on the content but
argue on the way of serving it. Plz remember not every forum is DLuv, not everyone's drooling over
the word Detroit in here. That doesn't mean lack of respect however. Peace.
and you have nothing". Blah. I reckon that's just the kind of speech the world can't bear anymore.
I repeat: we don't forget, we're just fed up hearing it.
Anyhow it's all been said, won't bother any further. It's getting silly coz we agree on the content but
argue on the way of serving it. Plz remember not every forum is DLuv, not everyone's drooling over
the word Detroit in here. That doesn't mean lack of respect however. Peace.
i can remember when the air was clean and sex was dirty.
http://prop4g4nd4.com
http://prop4g4nd4.com
Either some people are too young to know or some people simply don't like detroit techno ... it's obvious that detroit had a huge influence on what techno developed into over the past 15 years... but let's not forget Chicago, Derrick May was hugely influenced by what happened over there with Ron Hardy, Frankie Knuckles... and New York which played an important role in the electro scene
but claiming that techno is all about detroit sounds a bit too pretentious, Juan atkins was also very influenced by what was happening over here in Europe... German electronics (Kraftwerk, Tangerine Dream, Yello), Italian Disco (Moroder, Casco...), Synth pop bands, Front 242... you name it, all of these had a huge influence on Detroit and Chicago and definitely left their mark on what later became the Detroit sound. What detroit did is infuse the cold electronics with funk and US disco elements
also, during the mid-90's a lot of good techno productions came out, but many of them were not even from Detroit, they came from Holland, Germany, Belgium, Spain, UK, techno producers were of course influenced by what came from Detroit... but they added their own personal twist to it
and let's not forget the entire experimental scene that "owes its ass" to everything but Detroit, AFX, Autechre, Boards, Otto Von Shirach, Uziq, ... the list is long... and let's not forget jungle and drum'n'bass which was a pure UK thing. If you look at the whole picture, it's pretty pretentious to claim ownership of a particular sound... Detroit set something wonderful in motion, but others added their twist to it and developed new things
In a way, Detroit also owes it's ass to Europe, and before that people owe their ass to US disco... and the chain goes on
as to the whole idea of minimal being innovative... well some things are, but they weren't called minimal back then, things like sutekh, twerk, all of the canadian stuff, basic channel, ... and around 2000, a lot of of the stuff that came out was very innovative, but now of course a lot of things have lost that innovative touch and are more market oriented (and are sometimes far from minimal)... plus there's the hype that is fucking up everything and influences people's judgement ... but the whole minimal thing is definitely not innovative anymore ... what counts for me is quality, regardless of which style of music
the only innovation can be found in the experimental field, but those records have practically no dancefloor value and so many people simply don't even hear about them or don't make the effort to check them out
innovation rarely sells these days, people like easily digestible things
as to innovation coming detroit... well, not much new is coming from there,
just basic recycling unfortunately, although Anthony Shakir did a great experimental record on 7th city a while back, and Drexciya did some great stuff as well, and Carl Craig keeps on reinventing himself, but mainly it's been stagnating for a long time now
anyway, blablabla, this is getting too long
i never liked the whole trinity godfather thing, because there were already other people in detroit making this sh!t, without the recognition of being pioneers... Anthony Shakir, Eddie Flashin Fowlkes, Blake Baxter, Aux88, ...
claiming ownership to a sound or pretending to be the originator is a bit overrated as development of music is a lot complexer than that... it takes more than just one city...
but claiming that techno is all about detroit sounds a bit too pretentious, Juan atkins was also very influenced by what was happening over here in Europe... German electronics (Kraftwerk, Tangerine Dream, Yello), Italian Disco (Moroder, Casco...), Synth pop bands, Front 242... you name it, all of these had a huge influence on Detroit and Chicago and definitely left their mark on what later became the Detroit sound. What detroit did is infuse the cold electronics with funk and US disco elements
also, during the mid-90's a lot of good techno productions came out, but many of them were not even from Detroit, they came from Holland, Germany, Belgium, Spain, UK, techno producers were of course influenced by what came from Detroit... but they added their own personal twist to it
and let's not forget the entire experimental scene that "owes its ass" to everything but Detroit, AFX, Autechre, Boards, Otto Von Shirach, Uziq, ... the list is long... and let's not forget jungle and drum'n'bass which was a pure UK thing. If you look at the whole picture, it's pretty pretentious to claim ownership of a particular sound... Detroit set something wonderful in motion, but others added their twist to it and developed new things
In a way, Detroit also owes it's ass to Europe, and before that people owe their ass to US disco... and the chain goes on
as to the whole idea of minimal being innovative... well some things are, but they weren't called minimal back then, things like sutekh, twerk, all of the canadian stuff, basic channel, ... and around 2000, a lot of of the stuff that came out was very innovative, but now of course a lot of things have lost that innovative touch and are more market oriented (and are sometimes far from minimal)... plus there's the hype that is fucking up everything and influences people's judgement ... but the whole minimal thing is definitely not innovative anymore ... what counts for me is quality, regardless of which style of music
the only innovation can be found in the experimental field, but those records have practically no dancefloor value and so many people simply don't even hear about them or don't make the effort to check them out
innovation rarely sells these days, people like easily digestible things
as to innovation coming detroit... well, not much new is coming from there,
just basic recycling unfortunately, although Anthony Shakir did a great experimental record on 7th city a while back, and Drexciya did some great stuff as well, and Carl Craig keeps on reinventing himself, but mainly it's been stagnating for a long time now
anyway, blablabla, this is getting too long
i never liked the whole trinity godfather thing, because there were already other people in detroit making this sh!t, without the recognition of being pioneers... Anthony Shakir, Eddie Flashin Fowlkes, Blake Baxter, Aux88, ...
claiming ownership to a sound or pretending to be the originator is a bit overrated as development of music is a lot complexer than that... it takes more than just one city...
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thomasjaldemark
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word.I totally agree with you that detroit owes alot to Groups like Kraftwerk in europe and alot of house music too.dsat wrote:but let's not forget Chicago, Derrick May was hugely influenced by what happened over there with Ron Hardy, Frankie Knuckles... and New York which played an important role in the electro scene
but claiming that techno is all about detroit sounds a bit too pretentious, Juan atkins was also very influenced by what was happening over here in Europe... German electronics (Kraftwerk, Tangerine Dream, Yello), Italian Disco (Moroder, Casco...), Synth pop bands, Front 242... you name it, all of these had a huge influence on Detroit and Chicago and definitely left their mark on what later became the Detroit sound. What detroit did is infuse the cold electronics with funk and US disco elements
also, during the mid-90's a lot of good techno productions came out, but many of them were not even from Detroit, they came from Holland, Germany, Belgium, Spain, UK, techno producers were of course influenced by what came from Detroit... but they added their own personal twist to it
and let's not forget the entire experimental scene that "owes its ass" to everything but Detroit, AFX, Autechre, Boards, Otto Von Shirach, Uziq, ... the list is long... and let's not forget jungle and drum'n'bass which was a pure UK thing. If you look at the whole picture, it's pretty pretentious to claim ownership of a particular sound... Detroit set something wonderful in motion, but others added their twist to it and developed new things
In a way, Detroit also owes it's ass to Europe, and before that people owe their ass to US disco... and the chain goes on
as to innovation coming detroit... well, not much new is coming from there,
just basic recycling unfortunately, although Anthony Shakir did a great experimental record on 7th city a while back, and Drexciya did some great stuff as well, and Carl Craig keeps on reinventing himself, but mainly it's been stagnating for a long time now
As for the new innovation from detroit bit i find that for the most part people who say things like that aren't even listening for it. Labels like UR and Submerge Recordings and all it's sublabels change sounds constantly. Listen closely.
you know what i mean f3d4r...f3d4r wrote:Deef wrote:lol, what a wanker
it just doesn't make sense, 'begging' for recognition for a missy elliot track. back in the days ur was pretending to be the real underground blabla. obviously they got my respect for all the great music they produced, but what's standing in the first post of this topic... i find it ridiculous.