Techno & Trance

ekoch · August 19, 2008

DeadMau5 is holding it down.... he's gonna be at Ibiza Nightclub on saturday... i'm htinking about going...

Cool...I am definitely going to the PVD show in September. It will probably sell out by next week.

SteveFromYellowstone · August 28, 2008

Sandstorm by Darude

Break My Fall by Tiesto ft. BT

I dunno, Tiesto, BT, and Darude are the main ones I listen to.

ChocolateCitySkin · September 4, 2008

so the rest of this thread got deleted and i got banned... nice... anyways, i'll wrap this up by saying the entire infrastructure of specifically" techno" music (which has the same production values as R& was derived from the preexisting mo-town infrastructure. in essence, yusuf. you might not know this. but, without R&B specifically mo-town there would be no TECHNO whatsoever. no places to make records. no engineers. NOTHING. so don't come at me like i'm a total idiot and get me banned for calling dablo out for being a troll.

Jumbo · September 4, 2008

so the rest of this thread got deleted and i got banned... nice... anyways, i'll wrap this up by saying the entire infrastructure of specifically" techno" music (which has the same production values as R& was derived from the preexisting mo-town infrastructure. in essence, yusuf. you might not know this. but, without R&B specifically mo-town there would be no TECHNO whatsoever. no places to make records. no engineers. NOTHING. so don't come at me like i'm a total idiot and get me banned for calling dablo out for being a troll.

I. None of the thread "got deleted"

2. No one but you got you banned

3. You didn't get banned for "calling dablo out for being a troll"

4. You're lucky you didn't get banned again for the PM you just sent me

5. Maybe he should come at you like an idiot because that's how you're coming off in my view

6. Check your PMs

Doozinbrah · September 4, 2008

http://www.youtube.com/watch?v=y3jptoyJhbw
That's the only guy and song I know by name. So awesome 10 years ago when I smoked weed. Used to trip me out hard.

Other then that though, yeah, techno sucks.

Wink is cool, also try the song "Are You There" by him. It's kinda crazy. Faithless is another good group check out "God is a DJ" and "Insomnia". I also like old school Fat Boy Slim The CD " Youv'e COme A Long Way" is pretty good. It has "Rockefeller SHank( Funk Soul Brother)" on it but there alot of songs which are better. ALso Daft Punk pick up "Homework" its their earlier stuff but very good. Keoki is a good DJ too. I used to live at the clubs when I was younger. One more then I am done, Lords Of Acid are a tight group much more edgy and sexual. The lead singer is hot. Pick up Voodoo U and even their greatest hits, its pretty good. Bt is good and I can't forget Prodigy. ALot of their older stuff is very good.

The Sisko · September 4, 2008

so the rest of this thread got deleted and i got banned... nice... anyways, i'll wrap this up by saying the entire infrastructure of specifically" techno" music (which has the same production values as R& was derived from the preexisting mo-town infrastructure. in essence, yusuf. you might not know this. but, without R&B specifically mo-town there would be no TECHNO whatsoever. no places to make records. no engineers. NOTHING. so don't come at me like i'm a total idiot and get me banned for calling dablo out for being a troll.

I didn't come at you like you were an idiot. Rather, I simply corrected you on something you were wrong about.

I stand by my contention that house/techno/electronica etc. grew primarily out of disco. Now I don't deny that R&B influenced techno, but it was an indirect influence. That is, R&B strongly influenced disco which was then the genesis of house/techno etc. What was distinctly different about disco than R&B was the electronic element...which is by definition much of what house/dance/techno is all about. That's why your position just doesn't hold water. However, if you can cite any significant examples of synthesizers in the Motown sound, please feel free to do so.

Now if you want to make the case that disco grew out of R & B-well, OK. I can see that. But then if that's the case you have to go back to Ug the caveman banging a stick against a rock to make caveman music and THAT was the ultimate beginning of electronic music.

In any event, don't take my word for it. See what Frankie Knuckles himself has to say:

According to Frankie Knuckles, house is not a break with the black music of the past, but an extreme re-invention of the dance music of yesterday. He sees House music with a very clear tradition, a kind of two-way love affair with the city of New York and the sound of disco. If he were to list his favorite records, they would be a reader's guide to disco, including Colonel Abrams "Trapped", Sharon Redd's "Can You Handle It", Fat Lerry's "Act Like You Know", Positive Force "You Got The Funk" Jimmy Bo Horn "Spank", D-Train "You're The One"....
Most Chicago DJ's admit a debt to the underground 1970's underground club scene in New York and particulary the original disco-mixer Walter Gibbons, a white DJ who popularised the basic techniques of disco-mixing, then graduated to Salsoul Records where he turned otherwise unremarkable dance records into monumental sculptures of sound. It was Gibbons who paved the way for the disc-jockey's historical shift from the twin-decks to the production studio. But ironically, at the height of his cult popularity, he drifted away from the decadent heat of disco to become a "Born Again Christian", having created a space which was ultimately filled by subsequent DJ Producers like Jellybean Benitez, Shep Pettibone, Larry Levan, Arthur Baker, Francois Kervorkian, The Latin Rascals, and Farley "Jackmaster" Funk.

But then, he's not the only one who acknowledges disco as the progenitor of house/dance/techno etc.

http://www.trugroovez.com/history-of-house-music.htm

http://en.wikipedia.org/wiki/House_music#Precursors

http://music.hyperreal.org/library/history_of_house.html

http://www.resonantvibes.com/explore_styles.php?id=13

http://www2.abc.net.au/arts/soundsliketechno/html/default.asp?SegID=4http://www.plato.nl/e-primer/theroots.htm

I'll quote Run DMC one more time for you. "The next time someone's teachin' why don't you get taught..."

TGI Jef · September 4, 2008

check out The Avalanches.

ChocolateCitySkin · September 4, 2008

http://en.wikipedia.org/wiki/Techno

The initial blueprint for techno was developed during the mid 1980s in Detroit, Michigan, by Juan Atkins, Kevin Saunderson, Derrick May (the so-called Belleville Three), and Eddie Fowlkes, all of whom attended school together at Belleville High, near Detroit. By the close of the 1980s, the four had operated under various guises: Atkins as Model 500, Flinstones, and Magic Juan; Fowlkes simply as Eddie "Flashin" Fowlkes; Saunderson as Reese, Keynotes, and Kaos; with May using the aliases Mayday, R-Tyme, and Rhythim Is Rhythim. There were also a number of joint ventures, the most commercially successful of which was the Atkins and Saunderson (with James Pennington) collaboration on the first Inner City single, Big Fun.[12][13][14]

[edit] Detroit sound

George Clinton: Computer Games (1982)

In merging a European synth-pop aesthetic with the sensibilities of soul, funk, house, and electro, the early producers pushed dance music into unchartered terrain. The initial pioneers of the emerging genre melded the beat-centric styles of their Motown predecessors with the music technology of the time to create characteristically intense grooves and percussive basslines. The resulting Detroit sound exerted an influence on widely differing styles of electronic music but also maintained an identity as a genre in its own right, one now commonly referred to as "Detroit techno." Derrick May famously described the sound of techno as something that is "...like Detroit... a complete mistake, it's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."[15]

[edit] School days

Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians, "mix" tape traders, and aspiring DJs.[16]They also found musical inspiration via the Midnight Funk Association, an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson.[17] Mojo's show featured electronic music by artists such as Giorgio Moroder, Kraftwerk, and Tangerine Dream, alongside the funk sounds of Parliament, and danceable selections of new wave music from bands such as Devo and the B-52s.[18] Atkins has noted that:

“ He [Mojo] played all the Parliament and Funkadelic that anybody ever wanted to hear. Those two groups were really big in Detroit at the time. In fact, they were one of the main reasons why disco didn't really grab hold in Detroit in '79. Mojo usd to play a lot of funk just to be different from all the other stations that had gone over to disco. When 'Knee Deep'[19] came out, that just put the last nail in the coffin of disco music.[20] ”

Despite the short-lived disco boom in Detroit, it had the effect of inspiring many individuals to take up mixing, Juan Atkins among them. Subsequently, Atkins taught May how to mix records, and in 1981, "Magic Juan", Derrick "Mayday", in conjunction with three other DJ's, one of whom was Eddie "Flashin" Fowlkes, launched themselves as a party crew called Deep Space Soundworks[21][22] (also referred to as Deep Space).[23] In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year.[20]

During the late 1970s/early 1980s high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends[24] created the incubator in which techno was grown. These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs and their music. As these local clubs grew in popularity, groups of DJs began to band together to market their mixing skills and sound systems to the clubs in order to cater to the growing audiences of listeners. Locations like local church activity centers, vacant warehouses, offices, and YMCA auditoriums were the early locations where underage crowds gathered and the musical form was nurtured and defined.[25]

------------------------------------------------------------

use music is the descendant of the 1970s dance style of disco, which blended soul, R&B, funk, salsa, rock and pop with a progressive, pro-diversity message. In the late 1970s, disco songs began incorporating electronic sounds, such as Giorgio Moroder's landmark production of Donna Summer's hit single "I Feel Love" from 1977. In the same year, Kraftwerk's album Trans-Europe Express began being played in New York discos; this album contains a number of the elements and samples that later appeared in techno and drum and bass.

In the early 1980's, DJs in Chicago first started to experiment with house music by mixing double copies of disco music together at the same time. By using this double copy technique, DJs could repeat verses, skip bridges and extend choruses, making essentially a remix of the original disco track. This double-copy remixing eventually led to producers creating their own beats for djs to spin, as opposed to remixing old disco tracks.

In 1984, Lime released an album with a style dubbed "HiNRG", which moulded the late 1970s sounds of Giorgio Moroder and Kraftwerk into a catchy club style with beatbox programming and breakdown sections. M and M's club mixes and Jesse Saunders - "On and On" (1984/1985) had many elements of electronic dance music that developed into the house music sound, such as synths (including the 303) and minimal vocals. "On and On" was the first recognised house release to be pressed and sold to the general public and often cited as the 'first house music record',[2][3] although other examples from the same time period, such as J.M. Silk's "Music is the Key" (1985) have also been cited.[4] House music also incorporated other influences, such as New Wave, Reggae, European synthpop, industrial and punk as well as the emerging hip hop style. House music DJs experimented with new editing techniques and electronic instruments, such as remixing, sampling, synthesizers, and sequencers.

http://en.wikipedia.org/wiki/House_music

----------------------------------------------------------------

okay stop just admit youre wrong at this point. the only similarities it had with house was that it used drum machines.

ChocolateCitySkin · September 5, 2008

i know its wikipedia but i'm still trying to find where disco was in there. "The initial pioneers of the emerging genre melded the beat-centric styles of their Motown predecessors with the music technology of the time to create characteristically intense grooves and percussive basslines."

feel free to just admit age doesn't reflect accurate knowledge

The Sisko · September 9, 2008

i know its wikipedia but i'm still trying to find where disco was in there. "The initial pioneers of the emerging genre melded the beat-centric styles of their Motown predecessors with the music technology of the time to create characteristically intense grooves and percussive basslines."
feel free to just admit age doesn't reflect accurate knowledge

I agree. Your young age doesn't at all reflect accurate knowledge.

Regarding where disco is mentioned, it might help if you'd actually read what you posted yourself. Please see the areas I've highlighted below.

http://en.wikipedia.org/wiki/Techno
The initial blueprint for techno was developed during the mid 1980s in Detroit, Michigan, by Juan Atkins, Kevin Saunderson, Derrick May (the so-called Belleville Three), and Eddie Fowlkes, all of whom attended school together at Belleville High, near Detroit. By the close of the 1980s, the four had operated under various guises: Atkins as Model 500, Flinstones, and Magic Juan; Fowlkes simply as Eddie "Flashin" Fowlkes; Saunderson as Reese, Keynotes, and Kaos; with May using the aliases Mayday, R-Tyme, and Rhythim Is Rhythim. There were also a number of joint ventures, the most commercially successful of which was the Atkins and Saunderson (with James Pennington) collaboration on the first Inner City single, Big Fun.[12][13][14]

[edit] Detroit sound

George Clinton: Computer Games (1982)

George Clinton: Computer Games (1982)

In merging a European synth-pop aesthetic with the sensibilities of soul, funk, house, and electro, the early producers pushed dance music into unchartered terrain. The initial pioneers of the emerging genre melded the beat-centric styles of their Motown predecessors with the music technology of the time to create characteristically intense grooves and percussive basslines. The resulting Detroit sound exerted an influence on widely differing styles of electronic music but also maintained an identity as a genre in its own right, one now commonly referred to as "Detroit techno." Derrick May famously described the sound of techno as something that is "...like Detroit... a complete mistake, it's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."[15]

[edit] School days

Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians, "mix" tape traders, and aspiring DJs.[16]They also found musical inspiration via the Midnight Funk Association, an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson.[17] Mojo's show featured electronic music by artists such as Giorgio Moroder, Kraftwerk, and Tangerine Dream, alongside the funk sounds of Parliament, and danceable selections of new wave music from bands such as Devo and the B-52s.[18] Atkins has noted that:

“ He [Mojo] played all the Parliament and Funkadelic that anybody ever wanted to hear. Those two groups were really big in Detroit at the time. In fact, they were one of the main reasons why disco didn't really grab hold in Detroit in '79. Mojo usd to play a lot of funk just to be different from all the other stations that had gone over to disco. When 'Knee Deep'[19] came out, that just put the last nail in the coffin of disco music.[20] ”

Despite the short-lived disco boom in Detroit, it had the effect of inspiring many individuals to take up mixing, Juan Atkins among them. Subsequently, Atkins taught May how to mix records, and in 1981, "Magic Juan", Derrick "Mayday", in conjunction with three other DJ's, one of whom was Eddie "Flashin" Fowlkes, launched themselves as a party crew called Deep Space Soundworks[21][22] (also referred to as Deep Space).[23] In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year.[20]

During the late 1970s/early 1980s high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends[24] created the incubator in which techno was grown. These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs and their music. As these local clubs grew in popularity, groups of DJs began to band together to market their mixing skills and sound systems to the clubs in order to cater to the growing audiences of listeners. Locations like local church activity centers, vacant warehouses, offices, and YMCA auditoriums were the early locations where underage crowds gathered and the musical form was nurtured and defined.[25]

------------------------------------------------------------

use music is the descendant of the 1970s dance style of disco, which blended soul, R&B, funk, salsa, rock and pop with a progressive, pro-diversity message. In the late 1970s, disco songs began incorporating electronic sounds, such as Giorgio Moroder's landmark production of Donna Summer's hit single "I Feel Love" from 1977. In the same year, Kraftwerk's album Trans-Europe Express began being played in New York discos; this album contains a number of the elements and samples that later appeared in techno and drum and bass.

In the early 1980's, DJs in Chicago first started to experiment with house music by mixing double copies of disco music together at the same time. By using this double copy technique, DJs could repeat verses, skip bridges and extend choruses, making essentially a remix of the original disco track. This double-copy remixing eventually led to producers creating their own beats for djs to spin, as opposed to remixing old disco tracks.

In 1984, Lime released an album with a style dubbed "HiNRG", which moulded the late 1970s sounds of Giorgio Moroder and Kraftwerk into a catchy club style with beatbox programming and breakdown sections. M and M's club mixes and Jesse Saunders - "On and On" (1984/1985) had many elements of electronic dance music that developed into the house music sound, such as synths (including the 303) and minimal vocals. "On and On" was the first recognised house release to be pressed and sold to the general public and often cited as the 'first house music record',[2][3] although other examples from the same time period, such as J.M. Silk's "Music is the Key" (1985) have also been cited.[4] House music also incorporated other influences, such as New Wave, Reggae, European synthpop, industrial and punk as well as the emerging hip hop style. House music DJs experimented with new editing techniques and electronic instruments, such as remixing, sampling, synthesizers, and sequencers.

http://en.wikipedia.org/wiki/House_music

----------------------------------------------------------------

okay stop just admit youre wrong at this point. the only similarities it had with house was that it used drum machines.

I initially thought I was going to have to look up some more stuff to point out the fact that house preceeded techno and hence was it's progenitor. However, further down in the very same article you posted we find the following:

http://en.wikipedia.org/wiki/Techno#Chicago
The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and influenced by house in particular...

It was largely the success of Chicago house and acid house, in a number of notable UK clubs, that paved the way for the Detroit sound.[40][41] Following the release in 1988 of an album compiled by Neil Rushton (an A&R scout for 10 Records)[42] and Derrick May, titled Techno! The New Dance Sound of Detroit,[43] the music press began to characterize techno as Detroit's relatively high-tech, mechanical brand of house music, as it retained the same basic structure as the soulful, minimalist post-disco styles of Chicago house and New York house that were forged at the start of the decade.

In other words, disco-->house music-->techno (Detroit and otherwise)

That really was a nice try CC Skin, but sadly for you, no dice. Vanna, why don't you tell CC Skin about his consolation prize.

RonYoungEra · September 9, 2008

www.sts9.com

will blow your mind live.

ChocolateCitySkin · September 9, 2008

I don't feel like arguing over this anymore -- I'm saying that the sound was taken from mo-town you're saying the structure was taken from house. I think mo-town had a bigger influence than house you don't. We can agree to disagree.

The Sisko · September 9, 2008

Agreed CC. It has run it's course but it's been fun. I even learned a little during the process.

In any event, I think we can agree that electronic music kicks ass! :cheers:

hp703 · June 28, 2010

www.sts9.com
will blow your mind live.

I was trying to search for an broader "Electronic Music" thread. I guess this is close enough.

Soundtribe is amazing, I'm 99% sure they're playing pretty soon and close with Lotus...

Anybody get down with Deadmau5? They're playing 3 shows in July (28,29 and 30th). The 28th show is already sold out. Ordering tickets today:)

SkinsHokieFan · June 28, 2010

I was trying to search for an broader "Electronic Music" thread. I guess this is close enough.
Soundtribe is amazing, I'm 99% sure they're playing pretty soon and close with Lotus...

Anybody get down with Deadmau5? They're playing 3 shows in July (28,29 and 30th). The 28th show is already sold out. Ordering tickets today:)

I'll be there on the 28th

Mr. Sinister · June 28, 2010

I'm more of a DJ Tiesto fan, but I like Deadmau5 too. I might check it out. BTW do any of you guys listen to Daft Punk and Dirty Vegas? They're two of my favorites also...

skinfan133 · June 28, 2010

Damn, a techno thread older than mine :ols:

I guess etiquette dictates that mine should be merged into this one?

http://www.extremeskins.com/showthread.php?t=290472

LaRonDontLikeUgly · June 28, 2010

I guess I'll use this thread to do a little self promotion. I am an electronic DJ/producer out of NYC and this is a new remix I dropped last week. (I made the video too.)

object>

In terms of who you should listen to, for house/techno style check out Afrojack or Deadmau5... this song is straight BONKERS...

If you want some good dubstep check out Rusko, Joker, and Jakwob....

visionary · July 1, 2010

Miike Snow

In search of

http://www.youtube.com/watch?v=9LtiyKr4IFU

Animal

Silvia

The Rabbit

Techno & Trance

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