| Later, many of the residents came to the conclusion that under the monotone sounds not only possible to work under them, you can easily make people dance. This resulted in the experiments, pioneer in the field which were old friends - Derrick May, Juan Atkins, Kevin Sanderson and Jeff Mills.
It is easy to see that Detroit techno is very vulnerable to minimalism. This is probably due to the fact that people who stood at the origins of this music, they could not afford a large number of techniques. Monophonic synthesizer, a couple of drum machines and four-panel, as a rule have a complete set of equipment musician from Detroit. As a consequence, usually in the composition of sounds, only four sound.
Black trusted friends that really make music on this material. And worked. And to a techno track was not very much like another great importance attached to work with sounds.
By the mid-80's in Detroit opened underground techno clubs. Before that it had opened clubs mainly with hip-hop, electro music. Musicians began to open the newly designed labels. Juan Atkins label, opened the Metroplex, Derick May - Transmat, Kevin Sanderson - KMS, Jeff Mills - AXIS. By 1987, Juan Atkins performs compilation "Techno - the new Dance sound of Detroit". Immediately thereafter, the term Techno, well entrenched in a rigid minimalist dance music, which was based on a straight bit about 130 bpm. The wave of Detroit techno is very soon reached Europe, and the music began immediately to diverge on European dance floors. As a result, it became much more popular in Europe than in the United States. It was drawn to the emergence of European artists working in Detroit techno, for example, Advent. But Detroit masters perceive with a small smile to the techno wizard appears, maybe just jealous?
Approximately in 1987, in Detroit - the city of Motown and P-Funk - began to appear futuristic direction of music. DJ played his own music in clubs. At that time it was different music, but now it sounds like. Experts say it is - an alloy of the American P-Funk and European synth music (New Order and Kraftwerk). The unique ingredient of Detroit techno is considered "naked" funky sound of an analog synthesizer, and, most importantly, uhayuschy, dolbyaschy rhythm. No parties for vocals and podpevok. But the revolutionary thing in the Detroit techno - is the imposition of rhythms, almost polymorphic. However, this is not a formal set of rhythms, as in African tribal drum music: Detroit techno - a very simple music and often uses instead of the third quarter. The three major Detroit techno - it is Juan Atkins, Kevin Saunderson and Derrick May. Derrick May - the most heroic, orthodox. This musician has written, for example, The Dance. Quick dishes, break-bits, as well as strings and rhythmic tone line. Leading the rhythm faces other as in the Renaissance polyrhythm. Juan Atkins, and in our time making music, combining it with the rhythm of the jungle. Kevin Saunderson became the most famous in the composition of music on the verge of Hausa.
Prior to that, Detroit Techno style was characterized by changing from mild to very dark, creating a vivid and emotional oshuschenie (this feeling has passed partly in the style of Detroit Techno and the Motown legacy and the remaining unfilled niche between the earlier House and Techno in the Chicago style, which evolved in parallel south-westerly direction for all states). While the original style grew and developed as a dance music that lifts the mood, the strict and melancholy tunes from Cybotron, Model 500, Rhythm Is Rhythm and Reese could be ascribed to begin in Detroit, economic crisis in the late 70's, which followed moschneyshimrastsvetom this colossus of the American automobile industry.
Low quality many times copied the musical material and failed hopes of aesthetes, virtually all can be attributed to a very limited technological capabilities Starter pioneers often tape recorded with dvuhdorozhechnogo original). Enhance the professionalism and the complex structure of today's Techno (and this applies to absolutely all styles, from Hardcore to Jungle), on the contrary, owe their invention, the proliferation and accessibility of MIDI technology and the digital computer sound. The second and third wave of Detroit Techno style, too, took not the last line in the music industry, although such a musician as Derrick May, Juan Atkins, and Kenny Larkin tried to find a symbiosis of unprecedented perfection of digital technologies and compositional minimalism of the primary sound of Detroit.
Going beyond the limits of local scale, Detroit Techno is now a global event in the music. Partly because of the wide acceptance of (the many musicians who began their work in Detroit and were scattered all over the world), which is fueled by the fact that many of the early classics are still produced (and made publicly available through Submerge. As of today, the third wave style Detroit Techno again began to repeat the aesthetic value of that style, which belonged to the early period, with a strong rhythm, like (Underground Resistance, Jeff Mills), as well as spiritual tunes (Kenny Larkin, Stacey Pullen). Once again, gets a new breath of interest in the roots of the style of Techno, who came from Breakbeat (Aux 88, Drexciya, "Mad" Mike, Dopplereffekt).
Andrey B
http://ilove-techno.blogspot.com
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