From Wikipedia, the free encyclopedia Industrial techno is a subgenre of techno and industrial dance music that originated in the 1990s. Characteristically, it incorporates influences from the bleak, noisy sound and aesthetics of early industrial music acts, particularly Cabaret Voltaire and Throbbing Gristle.https://en.wikipedia.org/wiki/Industrial_techno
A Techno Alliance. In 1993, the German techno label Tresor Records released the compilation album Tresor II: Berlin & Detroit – A Techno Alliance, a testament to the influence of the Detroit sound upon the German techno scene and a celebration of a "mutual admiration pact" between the two cities.
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Techno [ ˈtɛkno (ʊ)] ist eine Musikrichtung, die in der zweiten Hälfte der 1980er-Jahre durch die Verschmelzung mehrerer Stilarten der elektronischen Tanzmusik entstanden ist. Als Basis dient insbesondere der minimalistische, bassdrum-betonte Grundrhythmus der House -Musik.
Techno is a form of electronic dance music that became popular in Frankfurt, Germany during the early 1980s. It was influenced by synthpop, house music, funk, post-disco and futuristic fiction ideas that were important during the end of the Cold War in the United States at that time.
El techno es un género de música electrónica que surgió en Detroit, Estados Unidos; hacia mediados de los años 1980.  El primer uso registrado de la palabra techno como referencia a un género musical data de 1988 aparece vinculado a la música en un artículo que Stuart Cosgrove publicaba en la revista “The Face” de Detroit.
- Secuenciador, sintetizador, caja de ritmos, sampler, vocoder, teclado
- House, italo disco, electro, cosmic disco, garage house, música industrial, Minimal wave, synth pop, hi-NRG, chicago house, EBM, new beat, acid house, electrónica, detroit techno
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From Wikipedia, the free encyclopedia Industrial techno is a subgenre of techno and industrial dance music that originated in the 1990s. Characteristically, it incorporates influences from the bleak, noisy sound and aesthetics of early industrial music acts, particularly Cabaret Voltaire and Throbbing Gristle.
Ambient techno is an offshoot of techno and ambient music that united the atmospheric textures of ambient music with the melodic and rhythmic elements of techno and electro. It was pioneered by electronic artists such as Carl Craig, B12, Aphex Twin, The Orb, Autechre and Biosphere.
AllMusic states that ambient techno blended the "soaring, layered, aquatic atmospheres of beatless and experimental ambient" with techno's "well-produced, thin-sounding electronics; minor-key melodies and alien-sounding samples." Artists returned to the instruments of the Detroit techno and Chicago house scenes, including analogue synthesizers, the Roland TB-303 bass machine, and the TR-909 drum machine, while also drawing on ambient and chillout elements. The style would be associated with labe
The 1984 album E2-E4 by German musician Manuel Göttsching was an early influence on ambient techno works by Carl Craig, the Black Dog, and The Orb. The Orb's 1991 album Adventures Beyond the Ultraworld would influence subsequent dub-influenced ambient techno. Aphex Twin's 1991 recording "Analogue Bubblebath" would also signal a shift toward meditative, ambient-leaning techno. Producer Pete Namlook released a prodigious amount of music in the genre, starting the label Fax and becoming a ...
- The Belleville Three
- The Music Institute
- Success abroad
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Detroit techno is a type of techno music that generally includes the first techno productions by Detroit-based artists during the 1980s and early 1990s. Prominent Detroit techno artists include Juan Atkins, Eddie Fowlkes, Derrick May, Jeff Mills, Kevin Saunderson, Blake Baxter, Drexciya, Mike Banks, and Robert Hood. Detroit techno Stylistic origins Electro industrial Chicago house Cultural originsMid-1980s, Detroit, Michigan, United States Derivative formsTechno Fusion genres Minimal techno ghet
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". The three, who were high school friends from Belleville, Michigan, created electronic music tracks in their basement. Derrick May once described Detroit techno music as being a "complete mistake... like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company."
—Mike Shallcross These early Detroit techno artists employed science fiction imagery to articulate their visions of a transformed society. 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. It "hit Britain in an especially big way during the country's 1987–1988 house ...
Inspired by Chicago's house clubs, Chez Damier, Alton Miller and George Baker started a club of their own in downtown Detroit, named The Music Institute at 1315 Broadway. The club helped unite a previously scattered scene into an underground "family", where May, Atkins, and Saunderson DJed with fellow pioneers like Eddie "Flashin" Fowlkes and Blake Baxter. It allowed for collaboration, and helped inspire what would become the second wave of Detroit-area techno, which included artists whom the Be
In 1988, due to the popularity of house and acid house music in Great Britain, Virgin Records talent scout Neil Rushton contacted Derrick May with a view to finding out more about the Detroit scene. To define the Detroit sound as being distinct from Chicago house, Rushton and the Belleville Three chose the word "techno" for their tracks, a term that Atkins had been using since his Cybotron days.
Juan Atkins, Kevin Saunderson, and Derrick May remain active in the music scene today. In 2000, the first annual Detroit Electronic Music Festival was held, and in 2004 May assumed control of the festival, renamed Movement. He invested his own funds into the festival, and "got severely wounded financially." Kevin Saunderson helmed the festival, renamed FUSE IN, the following year. Saunderson, May, and Carl Craig all performed but did not produce the festival in 2006, when it was again called Mov
Technopaganism is the use of modern technology or music within neopaganism and magical ritual. This can include the substitution of technology for traditional magical tools, such as using their oven for a hearth, keeping a "Disk of Shadows" instead of a " Book of Shadows ", and using a laser pointer as a wand.